The Gramophone 1936-06: Vol 14 Iss 157

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CONTENTS

JUNE 1936

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[Y ZAG ¥. 14
EDITORIAL

5 THE MASTERPIECES OF THE BALLET
7 TWENTY-FIVE CENTURIES OF RUSSIAN MUSIC

M. Nicholas Nadejine

8 A PLEA FOR THE RECORDING OF THE SONGS OF
Robert W. F. Potter

GUSTAV MAHLER
9 “LOUISE ”’

10 BOOK REVIEWS Fe

1! RECORDS IN CENTRAL AFRICA Vernon Brelsford

12 SCHOOL GRAMOPHONE NOTES W. W. Johnson
13 TURN TABLE TALK
16 BACH ‘ART OF FUGUE”’ A. R.

17 ANALYTICAL NOTES AND FIRST REVIEWS

26 SECOND REVIEWS W. R.A.

27 MISCELLANEOUS REVIEWS M.E.C.
29 DANCE RECORDS Mm. &. C.
30 SWING MUSIC Edgar Jackson
35 COLLECTORS’ CORNER P. G. Hurst
37. WHAT IS THIS HIGH FIDELITY ?—VII P. Wilson

38 TECHNICAL REPORTS
41 TRADE WINDS AND IDLE ZEPHYRS

42 CORRESPONDENCE and GRAMOPHONE SOCIETY
REPORTS

All communications should be addressed to the
London Office, 10a Soho Square, London, W.|

In the case of MSS. or letters requiring an
answer, a stamped envelope must be enclosed

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“Gramophone (Publications) Ltd.’’ and should be crossed “ Martins, Ltd.’
The Annual Subscription for THE GRAMOPHONE is I4s. post free from

the London Office.

U. S. A. Annual Subscription, $3. 50 _ Post free. Cheques on local banks
to “Gramophone (Publications) Ltd.’

Entered as Second Class Matter, March I5th, 1929, at the Post Office at Boston,
Mass., under the Act of March 3, 1879. (Sec. 397, P.L. and R.)

Compton Mackenzie

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THE GRAMOPHONE

Incorporating VOX, THE RADIO CRITIC and BROADCAST REVIEW

\ogdekea tee Edited by Gerrard 3136, 2137
pring’ COMPTON MACKENZIE and CHRISTOPHER STONE NS... «en
Vol. XIV JUNE 1936 No. 157

EDITORIAL

Ottorino Respighi

The death of Ottorino Respighi is a genuine loss to
luropean music, and I take this opportunity of
endorsing Mr. Gordon-Brown’s suggestion to the
recording companies last month that we should be
given a chance to become familiar with Respighi’s
chamber music and lovely songs. The Fountains of
Rome and the Pines of Rome are extremely effective
pieces of sensuous programme music, and unlike so
much programme music they do not succeed in
obliterating the scenes and moods they set out to evoke.
They have both been well recorded by Columbia and
H.M.V., and both make a ready appeal. In the latter
the H.M.V. record of a nightingale singing is used as
an instrument of the orchestra. Then there is the
Trittico Botticelliano which was done by Decca, an
agreeable piece of music rather in the mood of a Morris
Wallpaper. Respighi’s arrangement of Rossini’s music
for the ballet La Boutique Fantasque is the best known of
his orchestral works, and has been one of the most
popular of recordings ever since pre-electric days.
The best of them is the performance under Goossens
by the Covent Garden Opera Orchestra on an H.M.V.
plum, the brio and verve of which make it an out-
standing disc. Recently Columbia gave us a recording
of the pretty-pretty Gl: Uccelli and an extract from the
Feste Romane. In fact, Respighi’s orchestral work has
received generous treatment from the gramophone.
Mr. Gordon-Brown, however, is right in insisting that
Respighi’s importance as a composer depends on his
chamber music and songs which, so far as I know, are
unrepresented in the record catalogues.

I met Respighi in Capri in the summer of 1918 or
1919, and, as I remember, he lived in the small cottage
at Anacapri in which four or five years earlier I had
written most of the second volume of Sinister Street.
He was an extremely modest little man and not
apparently in the best of health even then. Like so
many artists in every medium at that date he seemed
perplexed about the immediate future for his art.
We hear a great deal about the disastrous effect of the
war on the artists of the younger generation, but the
European artists who suffered most heavily were those
born early enough to have achieved a measure
of success before the war, who, having as they
supposed settled down to carry out the scheme of their
artistic future, were swept off their feet by the shattering
interruption of the war.

A2

Respighi did not strike me as a modernist, and |
have always fancied that his orchestral works were
composed in a brave attempt to keep up with the
bewilderingly rapid changes in public taste which
marked the immediate post-war period. He con-
sidered himself first and foremost a writer of songs,
and I remember he asked me to send him a copy of
my poems in the hope of finding something suitable
for his music. I could. not get hold of a copy of them
at the time, and when a couple of years later I came
across one, the indolence, which always overtakes me
when I have to contemplate sending off even the
smallest parcel prevented my gathering together
sufficient strength of mind to send the volume to him.
Respighi’s modest and retiring personality was out-
shone by two other Italian composers who were then
in Capri—Casella and Malipiero. Casella joined to a
distinguished appearance an impressive manner of
enunciating his musical theories, but what will always
remain clearest in my recollection of him at that time
was his exquisite playing of Chopin’s music, and
modernist as he was I have heard him excelled by no
pianist of our period as an interpreter of Chopin.
Malipiero had an equally distinguished personality,
but although he too was a modernist of modernists he
seemed as remote from the present as one of his own
patrician ancestors of medieval Venice.

I greatly hope that the recording companies will do
something to make Respighi’s chamber music better
known in this country. At this moment, when so much
prejudice has been and is still being created against
Italy by our irresponsible sanctionist press, even so
slight a gesture of amity as would be implied by a
tribute to an Italian composer who has done a great
deal for music would have its value in bringing
together once again two nations whose traditional
friendship had been uninterrupted before the balloon-
headed enthusiasts of Geneva allowed themselves to
be carried away by their own gaseous aspirations from
the realities of the past, the present, and the future.
When so recently as 1899 Great Britain embarked
upon what was considered by almost the whole of the
civilized world as a cynical war of aggression in South
Africa and was being accused of vile barbarities against
the Boers, the Italian press was almost the only press
in Europe which gave Great Britain a fair deal. I do
not propose to comment here upon the rights or
wrongs of the Italian case against Abyssinia, but what-
ever they may be there is no excuse for the foul flood
of calumny which an interested propaganda has
poured out against a great and glorious nation.

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2 The GRAMOPHONE

Igor Stravinsky

I strongly advise readers to get hold of Igor Stravin-
sky’s Chronicle of My Life published by Victor Gollancz
in a smooth translation from the French. The interest
of what Stravinsky has to tell us about his actual music
is equalled by the completely faithful way in which his
book reflects the European malaise since the war. One
asks what would have happened to a Beethoven if the
life of his time had kept him as continuously on the
move as Stravinsky has been kept. Yet notwithstanding
the air of restlessness which pervades the whole volume
the impression of the composer’s own personality
suggests a singular tranquillity of mind due no doubt to
the sheer hard work at whose mercy every creative
artist always lies. “I consider that music is, by its
very nature, essentially powerless to express anything at
all, whether a feeling, an attitude of mind, a psycho-
logical mood, a phenomenon of nature, &c.
Expression has never been an inherent property of
music. That is by no means the purpose of its existence.
If, as is nearly always the case, music appears to express
something, this is only an illusion and not a reality.

‘““ Music is the sole domain in which man realises
the present. By the imperfection of his nature, man is
doomed to submit to the passage of time—to its
categories of past and future—without ever being able
to give substance, and therefore stability, to the
category of the present.

“The phenomenon of music is given to us with
the sole purpose of establishing an order in things,
including, and particularly, the co-ordination between
man and time. ‘To be put into practice, its indispensable
and single requirement is construction. It is
precisely this construction, this achieved order, which
produces in us a unique emotion having nothing in
common with our ordinary sensations and our responses
to the impressions of daily life.”’

I have quoted as much as was necessary to make
intelligible what Stravinsky himself calls a digression,
because I cannot recall any passage of musical criticism
which states with such clarity what music is. It washes
away like a stream of crystal water the accumulated
dust of the sentimental rubbish with which nineteenth-
century musical criticism was cluttered up. Stravinsky
shows lucidly in these observations why it is so difficult
to write any musical criticism which steps outside
technical criticism, and therefore why literature usually
manages to go to pieces when it concerns itself with
music. If a literary critic were to preoccupy himself
entirely with the technical criticism of a novel he
would only be read by those few professional novelists
who are themselves preoccupied with the technique of
their craft. The literary critic, however, is not tied
down to technicalities. He can discuss the probability
of the story. He can test by his own experience of
human nature the characterization of the novel before
him. And most valuable of all from the point of view
of interesting his readers he can attempt some estimate
_of the emotional depths and shallows. He can in fact

June 1936

write if he will an absorbing essay which may be read
with pleasure by those who have never read the work
that is being criticised. The musical critic on the other
hand from the moment he steps aside from the technical
achievement of music itself, is completely at the mercy
of his impressionism. ‘* Music is the sole domain in
which man realises the present.” It would be possible
of course to claim that no poem means the same to
any two persons, at any rate in the fullest sense of the
word “‘ means,”’ but it can be definitely asserted of any
piece of music. Moreover, no piece of music ever
means exactly the same to one person even at two
immediately consecutive hearings. As Elgar once said
to me, “ you only have to pass your hand across your
eyes while listening to a symphony, and during that
gesture the music is temporarily lost.”” It may have
been this peculiarly present tense in music which led
Bernard Shaw to describe it as a drug, because one of
the properties of a narcotic drug is to heighten to an
extraordinary extent the importance of the present.
We may safely assume, too, that our mental condition
during sleep is of an immensely extended and enriched
present compared with anything we experience when
awake. Practically our whole knowledge of dreams is
limited to those we recollect from the edge of sleep
when consciousness has already obtruded upon un-
consciousness. I know of no instance when a person
woken from a deep sleep, in which he was talking
aloud, has even been able to relate the circumstances
in which in sleep he was talking. I feel pretty sure that
music affords human beings their nearest approach to
the freedom of profound sleep. It has become a stock
joke to rail at the notion of the paradisial eternity spent
in playing a harp before the throne of God, but so far
as it is possible to conceive eternal bliss in terms of this
world an eternity of music is as near as we can approach
to the conception. And when I am in the middle of
listening to a great work of music I always have a
feeling that it is never going to finish. Take for instance
that marvellous last quintet of Schubert’s, and try-to
imagine when you are in the middle of it that it either
began or will end. Apropos of Schubert here is an
extract from Stravinsky’s Chronicle :

“One day when Scriabine with his usual emphasis
was pouring out idealogical verbosities concerning the
sublimity of art and its great pontiffs, I, on my side,
began to praise the grace and elegance of Schubert’s
waltzes. . . With an ironical smile of commiseration he
said: ‘ Schubert ? But look here, that is only fit to be
strummed on the piano by little girls!’ ”

I do wish that one of our pianists would give us all
the Schubert waltzes for the gramophone. They are
quite exquisite, and now that we are so rich in recorded
Chopin he should be given a rest until the glaring
blanks in our piano recordings are filled up.

I was glad to note that Stravinsky attaches great
importance to seeing the music played. I have even
noticed that people listen better to the gramophone
when they are staring at the horn, and I consider that

J

June 193

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June 1936

the external horn instrument always controls its
audience better than a camouflaged cabinet. “‘ Those
who maintain that they only enjoy music to the full
with their eyes shut,” says Stravinsky, “do not hear

better than when they have them open, but the absence of »

visual distractions enables them to abandon themselves
to the reveries induced by the lullaby of its sounds, and
that is really what they prefer to the music itself.”’

And oh, how good Stravinsky is on Beethoven! He
relates how in his youth he had been alienated from
Beethoven by the “intellectual and sentimentalattitude.”’
And how “ cured and matured by age ” he approached
him objectively to recognise in him “ the indisputable
monarch of the instrument. It is the instrument that
inspires his thought and determines its substance.”

I find that as I grow older I too in my humble way
marvel more and more at the “ giant instrumentalist ”’
that predominates in him. I recall those drums suddenly
coming in at the end of the rondo of the Emperor Con-
certo, or his innumerably magical uses of the horn, or
the still unique starkness of the violin at the beginning
of the Violin Concerto, or his unequalled appreciation
of the power of the double-bass both in the Fifth Sym-
phony and in the Ninth Symphony. Indeed I can think
of no instrument the potentialities of which were not
enriched by his genius. And I can recall no other com-
poser for whom this claim could be made. Stravinsky
is severe on those who make the “ error of regarding
instrumentation as something extrinsic from the music
for which it exists.”” And he goes on to point out that
the ‘‘ unhealthy greed for orchestral opulence of to-day
has corrupted the judgment of the public.” This 1s
profoundly true, and we only need compare what
Sibelius can do with an ordinary orchestra with what
Strauss so often fails to do with an unusual orchestra
to realise the truth of this. Tone-colour has been the
ruin of most modern composers, and its effect on music
has been as disastrous as elaborate scenery was
disastrous to the drama.

There are many more passages in this book which I
should enjoy discussing, but I am anxious that all our
readers who take an intelligent interest in music should
make themselves acquainted with what a great modern
master has to say. Stravinsky’s own interest in the
gramophone and in the wireless makes his observations
on both of first-class value, and the dangers to art he
discerns in both required stating by an authority
against whom there could be no suspicion of calling
‘* sour grapes.” I should add that the price of this book
is 8s. 6d.

Recent Records

An up-to-date recording of Beethoven’s Seventh
Symphony was wanted, and that issued by Columbia
on five discs played by the Vienna Philharmonic
Orchestra under Weingartner is from every point of
view a complete success. Weingartner’s qualities as a
conductor of Beethoven are perhaps displayed to
greater advantage in this symphony than in any,

The GRAMOPHONE 3

dependent as the Seventh is on its rhythmic unity. It
is important always to consider the Seventh Symphony
in connection with the Eighth. Both were composed in
the same year—1812 and in the same place—ToOplitz.

Wagner wrote: “ I do not know whether Beethoven
wished to depict a Dionysian orgy in the Finale of his
Symphony, though I recognise in this passionate kermesse
a sign of his Flemish origin, just as we see it likewise
in his bold manner of speech and in his bearing so
free and so utterly out of harmony with a country
ruled by an iron discipline and rigid etiquette.
Nowhere is there greater frankness or freer power than
in the Symphony in A. It is a mad outburst of super-
human energy, with no other object than for the
pleasure of unloosing it like a river overflowing its
banks and flooding the surrounding country. In the
Eighth Symphony the power is not so sublime, though
it is still more strange and characteristic of the man,
mingling tragedy with farce and a Herculean vigour
with the games and caprices of a child.”” Somewhere
else Wagner called the Seventh Symphony the apotheosis
of the dance, and oddly enough the Eighth Symphony
which Beethoven wrote during the summer and early
autumn of 1812, immediately after he had finished the
Seventh in May, was for some time known as the
Ballet Symphony. 1 fancy that Beethoven sacrificed some
of his riches in order to achieve the magnificent unity
of the Seventh, and that the Eighth used up as it were
what was not required for the Seventh. As a matter of
fact even when he had finished the Eighth, Beethoven
did not feel that he had exhausted this rhythmic mood,
for in his notes for a proposed Tenth Symphony he is
pondering that Dionysian orgy which Wagner discerned
in the Finale of the Seventh. Probably too we have an
expression of the same mood in the Scherzo of the Ninth
Symphony. The tenth side of these discs is taken up
with the Prometheus Overture.

Les Préludes of Liszt is not an orchestral piece one would
wish to hear every day, but it is an extremely agreeable
piece to play occasionally and it is always effective with
a medium-brow audience. Pieces of this kind are getting
hard to find for the gramophone which in this style of
music has suffered a great deal from radio competition.
A piece, for instance, like Weber’s Invitation to the Dance
has become a stock fill-in for the wireless. Les Préludes,
however, is just too long except for a rare performance,
and these two light-blue Columbia discs are a safe
investment for the gramophone. Meyrowitz has already
given two outstanding performances with Berlioz’s
Symphonie Fantastique, and Liszt’s Faust Symphony. With
the Préludes he maintains the standard he has set, and
there is not likely to be a better recording than this by
him and the Grand Orchestre Philharmonique of Paris.
The Columbia records of Jacques Dupont and the
Orchestre Symphonique of Paris playing Liszt’s
Hungarian Fantasia and those of the London Philhar-
monic Orchestra under Beecham playing Wagner’s
Faust Overture and the Prelude to Act III of Lohengrin were
not sent to me last month. In old days the H.M.V.

4 The GRAMOPHONE

recording of De Greef in the Hungarian Fantasia used
to be considered the best attempt at recording a piano
concerto which the gramophone had achieved. And I
used to enjoy it greatly.

Madame Wanda Landowska deserves the gratitude
of all Bach lovers for her superb performance of the
Chromatic Fantasia and Fugue in D minor with the first
three of the Six Little Preludes on two red H.M.V.
discs. The privilege accorded to the gramophone
possessor of having Madame Landowska whenever he
feels in the mood is inestimable.

I was a little disappointed by Kirsten Flagstad in
Isolde’s Liebestod of which H.M.V. has given us a
remarkable recording on a twelve-inch red H.M.V.
disc. There is no doubt whatever but that hers is a
magnificent soprano voice of altogether unusual power,
but I could discern no sign of the dramatic genius for
which she has been acclaimed, and it ought not to be
necessary to see a singer’s performance to recognise
dramatic genius. Nobody for instance could hear that
old record of Emmy Destinn singing Un Bel Di without
recognising her dramatic genius. I note “ H. F. V. L. ”
in his review last month was inclined to attribute what
he evidently felt was her failure to sing up to expecta-
tions to the volume of the orchestral accompaniment,
but presumably the singer herself had some say in that
matter. Prima donnas are not usually dumb about
their requirements. I admired, but without being in
the least moved. Similarly, I admired, without being
in the least thrilled by it, Briimnhilde’s battle-cry on
one side of a red ten-inch H.M.V., and again I found
a lack of dramatic expression. On the other side of
this disc Madame Flagstad sings Richard Strauss’s
setting of Allerseelen ; and once more I admired, but
without being moved. I wish some singer would give
us the other setting of Allerseelen. I do not know who
the composer was, but the first verse in the English
translation used to run:

‘* Lay by my side your bunch of purple heather,
The last red asters of an autumn day,
And let us sit and talk of love together,
As once in May.”

And while I am asking for songs, let me beg once
again for Maud Valérie White’s lovely setting of
Christina Rossetti’s sonnet from the Monna Innominata.
The first lines are :

‘I wish I could remember that first day,
First hour, first moment, of your meeting me,
If bright or dim the season, it might be
Summer or winter for aught I can say.”
This of course is a woman’s song, but I should have
thought Allerseelen was a man’s song.

Sydney MacEwan has made an admirable record of
Bonnie Mary of Argyll and Loch Lomond accompanied by
an instrumental trio on a ten-inch Parlophone disc.
Loch Lomond is an example of a woman’s song which is
never sung by women. I have always understood, but
1 am open to correction, that it is a Jacobite song and
that the high road refers to the gallows in Carlisle on

Fune 1936

which the young woman’s lover is to suffer. ‘The words
of the song are now as familiar as a nursery rhyme, so
nobody seems to bother about their significance. [|
should be glad to be corrected by some reader if my
interpretation of the meaning is wrong.
Yrjo Kilpinen

I have to confess that I never heard any song by
this Finnish composer until the H.M.V. album of a
representative collection sung by Gerhard Hiisch was
published. He is in the line of Hugo Wolf, and those
who cannot enjoy and appreciate Wolf are not likely
to care much for Kilpinen. It is worthy of note that
the Finnish Government gives him a pension, as it
does to a few other Finnish artists including Sibelius,
to enable him to devote himself to creative work which
is not necessarily popular. I know of at least one great
song writer in Scotland—Francis Scott—who 1s entitled
to such a pension, and there are probably some in
England and Wales. Such men do not stand a chance
in this country. I may remind readers that even the
Hugo Wolf Society might never have been successfully
founded if it had not been for the support of subscribers
from Japan. The other day in Parliament Mr. A. P.
Herbert suggested to the Chancellor of the Exchequer
that he should raise the Civil Pension List from £2,200
a year, at which it was fixed in the first year of Queen
Victoria’s reign, to £4,000 a year. Upon Mr. Chamber-
lain’s expressing surprise at such a huge sum being
demanded and wondering why Mr. Herbert had made
it, the Member for Oxford University retorted that he
hoped Mr. Chamberlain would have had the decency
to meet him half way. Thereupon the Chancellor, with
a pitiable ignorance of educated English, tried some
heavy sarcasm at what he supposed was a junior
member’s unparliamentary language, and was properly
snubbed by Mr. Herbert. The only remedy for artists
is to refuse to pay Income Tax to the government of a
country which has shown itself consistently hostile to
the arts since the time of the Stuarts. Those of us who
pay Income Tax to keep superfluous civil servants in
plus fours would pay Income Tax willingly if the
outrageous financial demands made upon creative
artists were used for the good of art in some form or
another. If the amount of Income Tax extorted from
the B.B.C. was set aside for the encouragement of art
and artists that alone would be sufficient to give Great
Britain the appearance of a cultured country, and the
public might cease to be surprised when a member of
the Government claimed to have read a book. Mean-
while, we have to comfort ourselves with the illusion of
being in touch with European taste by the publication
of such albums as these songs of Kilpinen, the author
of which was enabled to write them through the
generosity of a country without a mundane empire.

As a last word in this the first editorial of volume 14
let me call attention again to the magnificent recordings
which H.M.V. are making of the pianist Barer. Try

the Rhapsodie Espagnole. Compton MACKENZIE.

June 19

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June 1936

The GRAMOPHONE 5

THE MASTERPIECES OF THE BALLET

by BASIL HOGARTH
4. THE FIREBIRD AND PETROUSHKA (Stravinsky)

DO not think there is much room for honest doubt

that, when the musical historian of the future comes
to write the chapter of musical history concerning the
renaissance of ballet, he will decide that the two figures
that stand out from all the rest are Diaghilev and
Stravinsky. There may be two opinions about the
survival-value of the later creations of both these great
artists, but there can hardly be any dissentient voice
to the statement that the two greatest master-works in
the repertory of the Russian Ballet are The Firebird
and Petroushka. Le Sacre du Printemps is heard far oftener
as a piece of “ pure”? music on the concert platform
than on the stage: more recent works such as Reynard
and Apollon Musagéte have fallen rather flat both in the
theatre and the concert hall.
Yet these two earlier ballets,
The Firebird and Petroushka
have not only maintained
their position in the ballet
and orchestral repertory,
but they are largely the
foundations of Stravinsky’s
prestige among the larger
circle of music-lovers who
do not belong merely to
cliques and coteries.

The Firebird was the out-
come of Diaghilev’s impa-
tience with Liadov, who
had been commissioned to
furnish a score for the use
of the newly-founded
Russian ballet group in
connection with their annual Parisian seasons. Liadov
neglected to deliver the score on time (he did so,
however, at a later date, when it was utilised as the
basis of the charming Jeux d’Enfants), and so the
irritated impresario telegraphed Stravinsky, who was
in the midst of an opera The Nightingale, offering him
the commission instead. Stravinsky, at that time almost
unknown outside of a small team of musical cognoscentt,
was greatly flattered with this sign of esteem, and he at
once set to work on The Firebird, finishing the score at
St. Petersburg on May 18th, 1910. The ballet was
rehearsed in a few weeks and first produced under the
baton of Gabriel Pierné on June 25th, 1910, at the
Opera House, during the second season of Diaghilev’s
Ballet in the French capital. It is of historical interest
to note that Karsavina was the exquisite “‘ Firebird,”
Mme. Fokina the Tsarevna, Fokine the Ivan Tsarevitch,
while the more dramatic réle of Katschei the Immortal
was mimed by Bulgakov. The painter Golovin was
responsible for the décor and most of the costumes except

The Monte Carlo Ballet in a scene from *‘ Petroushka”’

those of the Firebird and the Tsarevna, which were
designed by Bakst. The choreography was by Fokine
himself.

Diaghilev’s troupe made their British début in the
Coronation year (1911). The first performance on the
evening of June 21st was a landmark in the history of
the theatre. ‘* All London turned out to greet the
Russian dancers,” a contemporary eye-witness records.
‘One of the most brilliant first-night audiences sat in
row after row, box upon box. Dancing that was new,
costumes and scenery that revolutionised the stage, and
music that was based upon unaccustomed tonalities set
London in an uproar. The engagement of the Russians
was discussed with due solemnity in the galleries of the
House of Commons, and
M.P.s clamoured for boxes.
Lady Cunard was a colour-
ful thread running through
it all. Without her able assist-
ance it is doubtful if we
would have had Diaghilev
and his dancers for that most
memorable of London’s
seasons.” The success of the
first visit may be gauged
from one trifling detail: the
crowded stalls were sold
at the hitherto unknown
price of thirty shillings
each (£3 of our money to-
day), yet night after night
people were turned away,
unable to obtain admission.

The Firebird was not produced in London on this
first visit: it was not until June 18th, 1912, that the
music of Stravinsky was heard by a London audience
at Covent Garden Opera House. It was thought that
the score was a trifle too advanced to produce during
the first visit (had not Rimsky-Korsakov himself
protested to his pupil Stravinsky : “‘ Stop playing that
horrible thing, otherwise I might begin to like it!’’).
But the music quickly won recognition even from those
critical quarters where die-hard opposition might be
expected. The current opinion was thus summed up
by Calvocoressi : “‘ Remarkable for variety and power,
it remains mostly picturesque, as befits the musical
setting of a mere fairy tale; yet under its brilliant
display of fancy, it is informed with a deep poetic feel-
ing that appeals not only to our taste for the weird and
to our sense of physical pleasure but also to our higher
emotional faculties. One might compare it in that
respect to Rimsky-Korsakov’s best fantastic works such
as Mlada.”’

6 The GRAMOPHONE

The story of the ballet is a traditional piece of
Russian folk-lore that had previously tempted the pens
of Russian composers—Rimsky-Korsakov wrote. an
opera Katschet the Immortal upon the same theme, and
Balakirev had in mind to compose an opera upon it.
The Tsarevitch Ivan while hunting follows the Firebird
into the magic garden of Katschei the dreaded ogre,
who has enslaved a kingdom. The Firebird promises to
fly to the prince’s rescue whenever he is in need of
supernatural aid. Suddenly Katschei and his demons
enter and seize the prince, who recalls the Firebird to
his side. In answer to his unspoken plea she dances
before the monster and charms him so that he too dances
until he falls asleep, exhausted. Then the prince
contrives to steal the casket in which the monster’s
soul reposes. He destroys it, and instantly the magic
garden and all the monsters vanish into thin air. The
Firebird (who is really a princess enslaved by
Katschei’s evil powers) becomes human and, as in
all good fairy tales, is wed in triumph to her rescuing
prince.

The music has been recorded in several different
versions, but in order to obviate misunderstanding, it
should be clearly understood that three separate
versions of the score exist. In the first place there is the
original score as produced when danced. This score
has never been recorded in extenso, but the composer
has compiled two suites, on different occasions, which
include the most important passages in the score, for
concert performance. It is from these suites that the
gramophone recordings have been arranged. Stravin-
sky has himself recorded a suite on Columbia L2279-
82. The first disc contains the Enchanted Garden and
the entry and dance of the Firebird. The second record
is made up of the Firebird’s plea to the Prince, and a
dance of captive princesses at play. The third record
continues with a Rondo of the princesses, and the
infernal dance of Katschei’s demons. The final record
embraces an interlude, a berceuse and the final
Wedding Procession. ‘Those who care to compare
orchestral pressings may try out the “‘ Danse Infernale ”
(Albert Coates on H.M.V. D1510; Erich Kleiber on
Parlophone 11019) ; the “ Danse of the Firebird ”
(Stokowsky on H.M.V. D1427); the Berceuse
(Colonne Orchestra conducted by Pierné, Parlophone
R20067 ; Erich Kleiber on Parlophone 11017) ; and
the dance of the Princesses (Kleiber, Parlophone
E10954 ; Coates on H.M.V. D1510).

To return to the year 1911. In the spring of that
year the Diaghilev company were in Monte Carlo,
where they were rehearsing Stravinsky’s next ballet,
Petroushka, which had been designed for Nijinsky. It
was intended that the new ballet should be much more
consciously and deliberately Russian than The Firebird.
The music was to be more outré, more grotesque than
anything so far put on the boards, and indeed it more
closely approximates to the style of Moussorgsky’s
realistic Peep-Show and Pictures at an Exhibition than
anything else of Stravinsky. As a ballet, Petroushka is a

June 1936

triumph of artistic collaboration, and it would be unfair
to minimize the important contributions and suggestions
that were made by Nijinsky, Benoit, and Diaghilev
himself. The premiére took place on June 13th, 1911, at
the Théatre du Chatelet, Paris, under the baton of the
excellent conductor Pierre Monteux, whose talents are
not known so widely as they deserve to be on this side
of the Channel.

Tamara Karsavina played the rdéle of the fickle
ballerina, and Nijinsky’s performance as the poor,
wretched hero aroused audiences throughout Europe
to a pitch of enthusiasm. Orlov portrayed the Caliban-
like Blackamoor, while that fine old veteran, Maestro
Cecchetti, played the wily Charlatan. Nijinsky’s wife
took part as one of the street dancers, while a now
world-famous ballerina, Tchernicheva (whose brilliant
Tamara was the outstanding attraction at Covent
Garden last season) made her début in the humble part
of a nursemaid in the corps-de-ballet. Petroushka was first
performed in London at Drury Lane on February 4th,
1913, when it was chosen as the first night of Sir Joseph
Beecham’s season. The music fascinated everyone, and
a leading critic echoed the general feeling when he
wrote “the rhythmic life, the masterly orchestration,
the spontaneity of the music were the strong points of
this all too brief masterpiece.”

The action takes place during Easter week in the
St. Petersburg of 1830. The first tableau conjures up a
bewildering vision of the fair scene with all its motley
throng, waiting for the cunning charlatan to set in
motion his “‘ animated puppets.” After a magnificently
timed entry, the bearded wizard taps his wand and the
magic begins with the sparkling “ danse russe.” (The
first tableau has been fairly adequately recorded by
Stravinsky and the anonymous symphony orchestra on
Columbia L2173; the fascinatingly grotesque dance
by Koussevitzky on H.M.V.) The second tableau
shows Petroushka in love with the ballet girl, and a
queer, neurotic love it is (Columbia L2174; H.M.V.
D2094). The girl flies from the strange pierrot, and
goes off in search of the stupid Blackamoor (Columbia
L2174).

The final tableau is the climax: the festival is in full
swing ; nursemaids dance, coachmen stamp drunkenly,
and an itinerant showman parades a performing bear
before the astonished eyes of the onlookers. Finally a
party of revellers attired in weird masks rush in and
the square becomes a whirling mass of dancing folk.
The most complete recording of the final tableau is that
of Koussevitzky conducting the Boston Symphony
Orchestra (H.M.V. D2095-6). Stravinsky’s own
version is rather drastically “ cut ’’ (Columbia L2175).

Weare very fortunate this year in being able to com-
pare two versions of Petroushka, for we shall have the
opportunity of hearing that of Col. de Basil’s company
at Covent Garden, and that of Michel Fokine at the
Alhambra. After the regular seasons of 1933, 1934
and 1935, it is now clear that there is a constantly
growing audience in this country for the ballet.

June Is
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1936

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Fune 1936

The GRAMOPHONE

Ill

SERVICE—WHAT A WORD!

Of all the hackneyed words
in use to-day, the word “Service”’
just about takes the biscuit. Every
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word ‘‘Service”’ in one way or the
other, and it depends entirely on
the Tom, Dick or Harry how
much that service is worth.

Now, we are very proud of the
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think, rightly or wrongly, that we
vive a better service to our cus-
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Every customer who buys a new
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This means that if, at any time,
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We may have quaint ideas about
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Kirsten Flagstad (Soprano)
DB2748.— Elsa’s Dream( Lohengrin) ( Wagner)
—Dich teure Halle (Oh, Hall of
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Eileen Joyce (Pianoforte Solos)

E11299.— Rapsodia Sinfonica. Two parts
(Turina) with orchestra conducted by
Clarence Raybould.

The Busch-Serkin Trio
DB2676 to DB2680.—— Trio in E flat major,
Op. 100 (Schubert), complete on
ten sides, Album 255.

cd \as

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Telephone: Museum 5944

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LX491 to LX493.— Beethoven’s last Sonata :
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Sir Thomas Beecham
Conducting London Philharmonic Orchestra
LXs501.—Festivo (Tempo di Bolero).

Two parts (Sibelius, Op. 25).

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and Orchestre de la Societe des Concerts
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The GRAMOPHONE

June 1936

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«1936

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June 1936

The GRAMOPHONE

NJ

TWENTY-FIVE CENTURIES OF RUSSIAN MUSIC

by M. NICHOLAS NADEBJINE

MONGST many unexpected experiences awaiting every

traveller to Russia, one of the most impressive is the discovery
that Russia is almost the only country where Grand Opera does
not show any sign of decay. In fact, it seems sometimes that the
titanic efforts of the proletarian State are concentrated on preserv-
ing that particular form of Art, which everywhere else, with the
possible exception of Germany, Austria, and Italy, has degenerated
beyond any possible hope of resurrection.

Why the most democratic, most plebeian, and unsentimental
covernment in the whole history of our civilisation, should
choose to become the patron of one of the most patrician Arts, is
a problem worth meditating on. Opera is dying ev.rywhere, as
architecture has been dying for the last hundred years, together
with poetry and every other non-commercial Art, yet Stalin does
not hesitate to add to his many duties the arduous task of saviour
of the Russian musical tradition.

When Michael Angelo was obliged to flee from Florence,
following the expulsion of the Medicis, he wrote to a friend :
‘* What is the meaning of Republic ? Liberty for the citizen and
scorn for Art!’’ And now the strong men of the Kremlin have
undertaken the task which up till now in history has fallen to
such men as Petronius, Tiberius, Nero, Lorenzo the Magnificent,
Piccolominis, the Borgias, Farneses, Colonnas, Catherine the
Great, Ludwig of Bavaria, and Otto Kahn. They keep alive this
great Art in a country whose population would appear in the
eyes of a Western observer much more wisely occupied in efforts
to secure a ration of daily bread instead of tickets for a gala
performance of *‘ Carmen.”’ Yet it is an indisputable fact that
modern Russia lives up to her ancient musical tradition. For
ancient it is, beyond the recollection of any chronicler.

A long time ago, the archeologists working on excavations in
South Russia, found in the tombs of Scythia (so often mentioned
by Herodotus and Hesiod) every conceivable kind of musical
instrument, from a Pan’s flute and horn to the almost modern
balalaika, and harp. Probably the most interesting of these early
discoveries was the predecessor of the fifteenth-century lute, and
the two-stringed Persian tanbour, which was first introduced into
Scythia by the musicians of Darius, King of Persia, when about
510 B.c. he tried unsuccessfully to conquer the country. Having
been first partially Graecised, then overcome by the Sarmatians,
the Scythians have been always accepted by historians and
ethnologists as direct ancestors of the Russians.

Anacreon, in one of his poems (of the sixth century B.c.)
disapproves of the over-boisterous Scythians, thus :

** Friends, we must not indulge

In the drunken orgies of Scythians.

Let us drink our wine peacefully,

And quietly sing our lovely hymns.”
The cultured Greeks were able to study the character of Scythians
at close quarters, for a great many of them were employed as
policemen in the streets of Athens. The witness to this is the comic
character of a drunken Scythian who speaks broken Greek in
Aristophanes’ comedy the ‘‘ Thesmophoriazusae,’’ which, staged
in 411 B.c., contained a vitriolic attack on Euripides.

Julius Polideuces (A.p. 11) in his “ Lexicon” describes a
musical instrument called a “ pentachord,”’ a five-stringed harp
in embryo invented and played by Scythians, which is identical
in every detail with the instruments found by Russian archeologists
sixty years ago.

Martianus Capella, a Roman writer of the fifth century A.p.
and author of an encyclopedia known as the “ Satyricon,”’ tells
an amusing story of an Amazon, who having decided to beget a
child by Alexander the Great, caused the King many embarrass-
ments until by way of compensation he offered the determined
lady warrior a slave who was an accomplished player upon the
lute. The bargain proved to be a great success, and the lady

returned happily to her native Crimea, bearing the King no
rancour. This story only confirms the earlier references by
Herodotus, Strabo, and Maximus Tyrius, to the Scythian passion
for playing the flute and reed pipe.

From ancient manuscripts we learn that Constantin Porphyro-
genitus, Byzantine Emperor from gi2 to 959, had engaged
several companies of Russian musicians to visit him, and the
enthusiastic accounts of their performances could have been
written by the critics of a quarter of a century ago when, for the
first time, Russian singers were heard in London.

Ibn Fadlan, a famous Arab traveller of the tenth century, gives
a detailed description of various instruments used by people living
on the shores of the Volga. Thus, we come into contact with our
old friends, the balalaika and the lute. Another traveller from
Bagdad, Abou-Hassan Ibn Hussein, says that Russians were very
fond of playing the reed pipe, which was sometimes two feet long,
and a lute which had eight strings.

In the old cathedral of St. Sophia in Kiev, built in the eleventh
century, there is a fresco which represents a musical festival. The
large body of musicians are divided into three sections: the
players on flutes, the trumpeters, and the players on lutes and
harps.

Nestor, a Russian historian of the twelfth century, tells us that
one of the reasons why Prince Sviatopolk had been nicknamed
the ** Damned ”’ was his unholy devotion to music. This prince,
being caught by St. Theodore while indulging in an outrageous
musical orgy surrounded by hundreds of drunken singers, was
promptly excommunicated by his infuriated Archbishop.

Famous preachers of the thirteenth century, Archbishop Cyril
and Archmandrite Serapion, prophesying the inevitable advent of
the last judgment, saw the explanation of all Russian calamities
during the invasion of the Great Mongol in the pagan devotion
of the people to music and community singing.

Thus Russia, from the very beginning of her history, became
the promised land for foreign musicians. And it was the ruling
prince of Kiev, Jaroslaff the Wise, who in the eleventh century
engaged the best Byzantine musicians to codify the rules of choral
singing. These Greek monks devoted themselves to their task with
a religious fervour, chiefly inspired by the great beauty of Russian
voices. So that at the time of the marriage of Jaroslaff’s daughter
Anna to King Henry of France in 1051, a selected company of
musicians followed the new Queen of France and took Paris by
storm. This happened at the time when Edward the Confessor
reigned in England, and Godwin, Earl of Wessex, was fomenting
the civil war ; and two English knights, having fled to Kiev, were
able to testify that Prince Jaroslaff’s court was the most civilised
in Europe.

Then, apparently, the Russian character and temperament
were very much the same as they are now. There was too much
singing, too much vague learning, and too much insatiable
interest in all things divorced from the real business of life. The
Russian clergy, having learned the canons of Church music from
Byzantine teachers, soon became the disseminators of newly-
acquired knowledge. Towards the end of the eleventh century
every cathedral and monastery possessed a school of singing, and
many teachers became so famous that Polish and Lithuanian
monasteries sent their promising singers to Russia to be trained.
Early Russian epics are inspired by the vocal efforts of such
legendary personages as Prince Igor’s wife Jaroslavna, Starv, and
Sadko. Six centuries after they were first created by unknown
minstrels, Borodin, Rimsky-Korsakov, and Gretchaninov drew
them out of oblivion, dressed them up in the gorgeous robes
of polyphonic orientalism, and introduced them to modern
civilisation.

G. Fletcher, Queen Elizabeth’s Ambassador to the Court of
Czar Theodore, son of Ivan the Terrible, tells in the history of the

o
-
|
¥
:

8 The GRAMOPHONE

Russian Commonwealth how the eating of gargantuan meals
composed of seventy courses, drinking of vodka, watching the
fights, and listening to the orchestras were the favourite occupation
of the Moscow Court.

Another Ambassador of Elizabeth, Sir Jerome Horsey, became
a great favourite with the Czar and Czarina Irene, after having
presented them with a clavichord and an organ, complete with a
London organist. He somewhat bitterly records how some of his
men, on account of being able to play the organ, were often
invited to the most exclusive inner circle of the palace, to which
he was never admitted.

The Patriarch Nicon, in a letter forbidding the use of organs in
churches, calls it a pagan and soulless instrument—which shows
that even a sixteenth-century Moscow monk could occasionally
formulate a very sound esthetic judgment.

The first Russian orchestra was formed just before the death of
Ivan the Terrible. It consisted of a body of thirty musicians, each
playing only one note on horns of different shapes and dimension.
The ultimate effect depended on perfect timing, and demanded
from the conductor a great deal of skill in order to produce the
right kind of sound at the right moment. What the exact
artistic value of such an orchestra was is hard to see, but from the
same ambassadorial reports we learn that during the wedding

feast of the first Romanoff, Czar Michael (1613), the orchestra
played continuously for five days and nights.
The use of musical instruments being forbidden by the Church,

Russian choirs had always to sing a cappella unaccompanied. This

probably accounts for the proverbial purity and depth of Russian
basses who, unsupported by the sounds of organ pipes, had to rely
on their own sonority and beauty.

(To be continued)

A PLEA FOR THE RECORDING OF

THE SONGS OF

GUSTAV MAHLER

by ROBERT W. F. POTTER

USTAV MAHLER (1860-1911), besides being a brilliant

orchestral conductor in the opera house and concert hall,
was one of the greatest composers of modern times in the realms
of symphonic music and Lieder. The permanent value of his
symphonic works is a much debated point, but there can be no
doubt that his songs will live. One gets an impression of their
beauty and melody even in perusing the score, particularly of
Des Knaben Wunderhorn (twenty-three songs) and Lieder eines
JSahrenden Gesellen (four songs). Their merits and beauty may also
be judged from the spasmodic broadcasts of Mahler’s songs,
notably that by Maria Olszewska several years ago, and recently,
those by Sophie Wyss, who on two occasions has sung several
Mahler Lieder. A third means of assessing Mahler’s contribution
to the field of Lieder is the gramophone records of a few of his songs
listed below, which give an indication of the qualities, worth-
whileness, and variety of the songs as a whole.

Of Mahler’s forty-two songs, nine (all sung in German) are

available as electrical recordings :

Rheinlegendchen and Der Tambourg’sell—both from Des Knaben
Wunderhorn—sung by Heinrich Schlusnus (baritone) with
orchestra (Decca-Polydor 12 in. CA8082).

These songs are intensely fascinating. In the scoring one
finds the brilliance of a Richard Strauss, the subtlety of a
Hugo Wolf, and the brimming melody, Ldandler grace and
compelling rhythm of a Franz Schubert.

Kindertotenlieder—a cycle of five songs—sung by Heinrich
Rehkemper (baritone) with orchestra (Decca-Polydor 12 in.
CA8o027-8-9).

Here again, the orchestral tone-painting is equal to the
best work of Richard Strauss when he is writing Lieder for
orchestra. The music seems to be born of the very words.

The poems are in mournful vein, but melody is ever in the
forefront.

Wer hat dies Liedlein erdacht ?—from Des Knaben Wunderhorn—
sung by Elisabeth Schumann (soprano) (H.M.V. 10 in.
E555), and also by Lula Mysz-Gmeiner (contralto) (Decca-
Polydor 10 in. PO5105), both with piano accompaniment.

A delicate trifle, which would gain by being recorded in
the more attractive orchestral setting.

Um Mitternacht—one of the five lyrics by Riickert, set by Mahler
—sung by Aaltje Noordewier-Reddingius (soprano), on two
sides of a 10 in. Dutch Columbia record (DH81), with organ
accompaniment.

This singer has been famous for many years as an inter-
preter of Mahler’s songs, and was one of the principals in the
Mahler Festival held at Amsterdam in 1920 to commemorate
the twenty-fifth anniversary of Willem Mengelberg’s con-
ductorship of the Concertgebouw Orchestra.

The following electrical recordings are not now easily obtain-

able:

Urlicht—from Des Knaben Wunderhorn—is also the contralto solo
from Mahler’s Second Symphony. It is sung by Madame
Charles Cahier (Ultraphon 12 in. E288), and by Emma
Leisner (Polydor 12 in. 66295-6), both with orchestra.

Ich bin der Welt abhanden gekommen—one of the five lyrics by
Rickert, set by Mahler—sung by Madame Charles Cahier.
It is coupled with the above-mentioned Ultraphon record of
Urlicht, and has orchestral accompaniment.

Mme. Cahier has probably given more Mahler Lieder-
abende than any other singer in the world.

The following acoustical recording is not now available :

Ich ging mit Lust durch einen griinen Wald—from Des Knaben
Wunderhorn—sung by Grete Stiickgold (soprano) (Polydor
12 in. 19234), with orchestra.

A critical friend has pronounced this to be the most
beautiful pictorial Lieder record in my large collection. I
thought Miss Sophie Wyss’s recent broadcast of this song
with piano accompaniment was a delightful collaboration.
The song in its orchestral setting, recorded under modern
conditions, would probably prove even more appealing, but
I would welcome a record of the song by this singer, with
piano accompaniment.

One would like to see a Society formed to support a scheme for

recording Mahler’s songs, especially those which do not appear on
the current gramophone record lists.

I hope that Miss Sophie

Wyss (soprano) will be entrusted with some of the songs.

June 1936

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The GRAMOPHONE 9

“LOUISE”

A Note by M. K. JARDINE

RENCH COLUMBIA have recently issued Gustave Char-

pentier’s “* Louise ”’ on eight twelve-inch discs (RFX47-54).
Doubtless in course of time they will be available in England,
especially as the work is to be revived at Covent Garden this
month. This four-Act opera, which Charpentier described as a
‘Roman Musical,’’ was produced in Paris at the Opéra-Comique
on February 2nd, 1900.

The story is a simple one. Louise, a Parisian sempstress, and
Julien, a somewhat dissolute young poet, are in love with each
other, but the former is torn by conflict between love for him and
fear of grieving her parents through leaving them. Yielding to
his entreaties, however, she leaves home and lives with him, but
after a time the mother induces her to return on the plea that her
father is in failing health as a result of the life she is leading. On
returning home Louise’s initial remorse is soon changed into dull
resentment and defiance when she learns that her parents want
her to leave her lover for good and remain at home. Her father’s
entreaties fail to move her and she rushes out into the night.

Among the most famous singers of the title réle (soprano) have
been Mary Garden, Edvina, and in the English productions given
by the Quinlan and Beecham Opera Companies, Jeanne Brola and
Miriam Licette. The rédle of Julien (tenor) has been filled at
different times by Charles Dalmores, Paul Franz, and in English
by Maurice D’Oisly. The part of the father (bass) was taken at
Covent Garden before the war by Gilibert, Vanni-Marcoux, and
Jean Aquistapace, while in the Beecham productions Frederick
Ranalow and the late Robert Radford alternated in the part.
Louise Bérat filled the réle of the mother (contralto) always with
great distinction in the pre-war Covent Garden seasons, while
Edith Clegg appeared in the Beecham productions. It may be
said, however, in passing that the opera, so essentially Parisian in
spirit and atmosphere, loses a great deal of its charm in its English
dress. The work is in many respects unique among modern French
operas. Although it took eight years to reach Covent Garden, it
has been produced on all the important Lyric stages in the Old
and New Worlds, and has proved popular everywhere. This is
as much due to the freshness and literary excellence of the libretto,
written by Charpentier himself, as to the charm and originality
of the score. It is in some respects a difficult work to describe, for
it is a mixture of impressionism, symbolism and realism. It might
seem, therefore, from this that it is an unequal work. This is far
from being the case. The various scenes which lend colour and
meaning to the dramatic action are so skilfully and tastefully knit
together that criticism is silenced. “‘ Louise ”’ is the apotheosis of
Paris—the city of light and pleasure. It reflects the colour and
movement of its streets, and above all conveys the haunting echoes
of its street cries. The action is borne along on a stream of melody
which is always colourful and never crude. There are, too, fine
choral passages, which lend great distinction to the work. Notable
among them is the *“* Couronnement de la Muse,”’ which Char-
pentier incorporated into ‘“* Louise”’ from an earlier work.
** Depuis le jour,”’ the famous love “ aria ” at the commencement
of the third Act, is the only one that is known on the concert
platform, nothing else being suitable for extraction from its
setting, unless perhaps we except the enchanting “ berceuse ”’
from the last Act.

It remains to be said concerning this work, that although
Charpentier, now in his 76th year, was a pupil of Massenet, there
are traces in ‘‘ Louise ’’ of Wagnerian influence—he employs, for
instance, the “leit motif’*—and that he is a one-masterpiece
composer, the sequel to ‘* Louise,” “ Julien,’’ produced at the
Opéra-Comique in 1913, having proved a dismal failure.

The records under review represent a special gramophonic
arrangement authorised by the composer himself, and on the
whole it has been admirably executed. Certain portions of the

work, which depend very largely upon scenic effect, have had to
be omitted—for example the Noctambulist scene at the commence-
ment of the second Act; but one regrets the omission of the
prelude to the third Act, which is one of the finest passages in the
opera.

As regards the artists themselves, no praise could be too high
for Georges Thill and Ninon Vallin in the rdéles of the lovers.
Both have ideal voices for their parts. Never before on, the
gramophone has “Depuis le jour ’’ been sung with such freshness,
point, and charm ; while in the love duet which follows, both
singers are magnificent. As the mother and father, Mme.
Lecouveur and André Pernet are adequate without, however,
possessing voices of any great distinction. André Pernet has too
rough a voice for the part. This is particularly noticeable in the
** Berceuse ’’ where one misses that sympathetic quality of voice
which made Frederick Ranalow’s singing in this part so pleasant
to listen to. Throughout the chorus is admirable, and particularly
successful are the distant voices delicately suggesting the street
cries of Paris. Eugéne Bigot, in his capacity of ‘“‘Chef d’Orchestre,”’
brings out the detail of the score with becoming sensitiveness.

BOOK REVIEW

The Chronicles of My Life, by Igor Stravinsky.
8s. 6d. net.)

Many years ago a friend of mine found himself in the same
hotel in Switzerland as Stravinsky. One day the composer went
to the piano and after playing a number of extremely dissonant
chords turned round to my friend with a happy look on his face,
saying, “*‘ Isn’t that lovely ? ”

The transparent sincerity of that utterance is the keynote of
this book. If it reveals the anti-romanticist, the man who
declares war on expression in music, who turns his back on
lyricism, it reveals also a generous and kindly nature. Indeed,
one wishes Stravinsky had spared the amount of space given up
to thanks and praise for a fuller account of his own music.

The book is, nevertheless, extraordinarily interesting. Like
Meyerbeer, who required an entire house in which to work so
that no one should overhear him, Stravinsky confesses to com-
posing at the piano, and in his admission that “ it is a thousand
times better to compose in direct contact with the physical
medium of sound than to work in the abstract medium produced
by one’s imagination ”’ there is a possible hint of weakness in his
artistic make-up.

The fingers are both more haphazard and more reminiscent
than the detached mind. Witness the processes of the amateur
song-writer whose little tunes and squishy harmonies are the
common denominator of all that is running in his head. But to
Stravinsky the “ fingers are great inspirers, and, in contact with a
musical instrument, often give birth to subconscious ideas that
might otherwise never come to life.”

There is no space to argue this interesting point here, but I
believe it to be an important one in the development of a com-
poser whose progress has been curiously experimental and without
direction. There are some surprises in the book. To Stravinsky’s
often expressed admiration for Tchaikovsky must be added the
names of Gounod—to whom indeed less than justice is done by
us—and Czerny, whom we have so often anathematised at the
keyboard. And it certainly is surprising to read, from this un-
exceptional source, that Nijinsky was musically illiterate and
stupid, a great dancer but an inexpert choreographer.

This book, of the highest interest and most readable, has been
admirably Englished by an anonymous translator.

(Gollancz.

A. R.

10 The GRAMOPHONE

BOOK REVIEWS

X plus Y. Music & Mathematics.
(Dent, 7s. 6d.)

This is how X and Y make love:

** Don’t leave me—I’m very dependent on you.”

* X plus Y ?”

‘** In a way, yes. Why not (x+-»)2 ?”

‘** A higher power ? ”

** Yes, exactly. And (x+y)2=x2+4-y2+ axy—or x2+ y2+ xy+ px.”

‘** Who are 2xy, or rather xy and yx ?... Oh, Isee...”’

* Yes, Y dear, but you have to remove the brackets for that . . .”’

‘** They’re not my brackets, darling ; they’re yours.”’

No one but Y and perhaps our Technical Department could
stand that. Y, being a good musician who had mathematics,
could give X as good as she got, and seemed to enjoy it.

It is because of Y’s music that this novel is noticed here. While
X is wrestling with an unpleasant and, for once, not algebraic
school problem, Y is playing the piano part in Schubert’s Quintet,
led by her father, a professional who enjoys music most in his own
home.

Y’s music is on as high a plane as X’s mathematics, and it flows
through their story with less insistence, but with a beautiful
security. Everyone in the book seems to be a symbol, but a flesh
and blood one, finely drawn. ;

A more enchanting symbol than Signor Bontempelli could
scarcely be imagined. He is the ’cellist in the Quintet, and is in
love with the viola. The problem of X-+-Y is solved in an Alpine
adventure, when the Signor goes to his death in the Glacier de la
Tribulation. ‘‘ He shot past them with appalling swiftness, and
for a moment, before he hit the névé, he seemed to pause in mid-
air, and to look at them without fear. . . . He had died with the
lamps of his unselfishness, of his love for X and Y, trimmed and
burning steadfastly.”

In spite of the algebra, this is a lovable book.

A novel by E. F. Bozman.

Music, my Love! One listener’s Autobiography by Charlotte
Haldane. (Arthur Barker, 7s. 6d.)

‘* If music doesn’t send a cold shiver down my spine, I have no
use for it, my dear! ”’

When my lively American friend made this statement some
years ago, I thought rather priggishly that it was all of a piece
with her theory (which she put into practice) that Life should be
one thrill after another in rapid succession.

I have since come to the conclusion that she was right on all
points, and after reading Mrs. Haldane’s entertaining book I am
entirely convinced.

Music, my Love /! begins and ends with “ the tingling of the small
hairs on our spines at the first divine whisperings of Leonore 3.”

Spines are tingling all through the book, in the shilling gallery
at Queen’s Hall, in a concert agent’s office in Hanover Square
where “‘ an endless stream of music makers’ made the day’s
work a thrill ; at the ballet in Russia and London ; at the Opera ;
in a music store in Charing Cross Road, and oh, boy! even in

June 1936

the sacred precincts of Cambridge where the author’s second
marriage took her. Being a divorcée, she was saved from the
worst horrors of social life there, but as she obviously has the gift
of unearthing ‘*‘ the goods ’’ wherever she goes, she found Prof.
Edward J. Dent, ** Spike ’’ Hughes, Mrs. Granville Gordon, and
the Informal Music Club. So even Cambridge had some thrills.

The book is not written for professional critics or for music-
snobs, but for professional musicians and those who pay them.
It is provocative, and means to be. Here are a few extracts to get
the conflagration going :

‘** Bayreuth is no longer ‘ the thing’: Salzburg very definitely
is. Already the musical minded are thinking of giving it up. For
last year (1935) the little Austrian town seems to have been
invaded in full force by the snobs.”’

‘** Amateurism in Art is the capital crime, it is the sin against
the Holy Ghost.”’

‘** I consider mechanical reproduction of music a boon and a
blessing to mankind. I whole-heartedly approve of the B.B.C.”’

** Since the disappearance of Spessiva, none of these organiza-
tions (de Basil, Moscow, Leningrad) can boast of an artist com-
parable either in grace or technical accomplishment to Alicia
Markova.”

** The real thing against Wagner is the effect he has on his true
disciples. His music is the most sensuous, the most corrupting of
any ever composed. It is truly ‘ the opium of the people.’ His
enthusiasts too often show all the symptoms exhibited by other
drug addicts.’ (Mrs. Haldane is a Wagnerite.)

** The truth is that hot rhythm, as distinct from popular dance
music, can only be properly appreciated in one place and in one
way: that is, on gramophone records, heard in private. Its
immense popularity is, of course, directly due to the gramophone.”’

‘* | regard it as compulsory for a woman who, like a don’s wife,
enjoys a secure unearned income for life, at least to make some
effort. . . . The process known to American women and horses as
‘ grooming’ they had never heard of. Their attitude to any
feminine effort to appear smartly or even politely dressed can best
be summed up .. . in the following remark: ‘The nose of a healthy
woman, like that of a healthy dog, should be shiny ’.”’

‘* It is no use sneering at the lack of discrimination, the semi-
hysterical enthusiasm of a Prom. audience, because they are a
mass reaction of young people to whom music is not an intellectual
exercise, but food for hungry and very often starving emotions.”

‘**T love my Brahms with an A or with a V—either stolidly
academic or joyously vulgar: but when these initials, like those
carved on trees by naughty lovers, get interlaced, as I think they
do in the Fourth Symphony, I go berserk.”’

** After Elgar—but, in my opinion, a long way after—come
those who to me seem the ‘ also-rans’: Delius, Holst, Vaughan
Williams, Bax, and Bliss.”

This seems to be the moment to damp down, with a strong
recommendation to musicians, critics, snobs, and all the rest of
us, to explore this frank autobiography, of which a fitting culmina-
tion is the eighth chapter, ‘‘ The Listener’s Everest,”” where the
peaks Bach and Beethoven are admirably negotiated. Ft

A BOOK WHICH EVERY MUSIC LOVER SHOULD READ

INTELLIGENT
LISTENING tro MUSIC |

By W. W. JOHNSON

Christopher Stone, in the Sunday Referee: ‘‘ There must be
thousands of people who will find in Intelligent Listening to Music
precisely the book that they have been seeking.’”’

The Gramophone : ‘‘ This well printed and illustrated book, packed
with information and thoroughly up-to-date, should prove of
much use to those who are in a position to benefit from it.’’

Order from a Bookseller 5/ = net or direct from
PITMAN, Parker St., Kingsway, London, W.C.2

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June 1936

RECORDS

by VERNON

HAD almost begun this article by saying that the only classical
= music in Africa, between the latitudes of Bulawayo and Nairobi,
had its being through the medium of the gramophone. Then I
recollected that the vast area of tropical Africa so indicated con-
tained, in the person of Dr. Schweitzer, at least one musician of
international fame and who, like most of us, is a resident of the
tropics in between furloughs. So I will be more cautious and say
that the scattered settlers, missionaries, and officials find the
ohysical handicaps of distance and lack of adequate transport too
difficult both to warrant the purchase of pianos or to indulge in
any community playing with smaller instruments.

On my last leave from Central Africa to England in 1933 I was
introduced to the E.M.G. shop, but knowing that hundreds of
miles of bumpy roads, carriage by romantic but not always sure-
footed carriers, awaited my purchase, I hesitated. But I was
comforted when I was told that E.M.G. gramophones often fell
down precipices without injury in India, and so I bought a table
model packed in the same sort of box that fell down precipices.
Records were a difficulty, too, because as a District Officer I had
a tremendous amount of travelling to do and an economical
Government would only pay for a certain amount of goods.
And, although for every wife and child I was allowed a few
pounds extra, I was not given any extra because I had a gramo-
phone and records, they being classed as a luxury and a wife as
a necessity. My collection of records is therefore under one
hundred, and with the object of comprising in that number as
wide a collection of music as possible, my Album Series is, at the
moment, restricted to three albums. In H.M.V. Beethoven’s
Concerto No. 1, Elgar’s Symphony No. 1, and in Columbia the
Weingartner Symphony No. 4 of Beethoven.

Usually the records are kept in their boxes or in albums always
lying flat, as the heat renders it impossible to store them book-
fashion from fear of warping. When travelling they are packed
amongst linen or clothes, and I have up to the present had no
breakages. My only regret is that my two discs of Beethoven’s
Sonata in D minor played by Gieseking on Columbia became
very badly warped during the last hot season. The only other
climatic disadvantage is that in every dry season the doors of the
gramophone, as do the doors of houses, become excessively dry
and warped and will not close properly until the rains begin.

For a year after returning from home leave I lived on a “ two-
man station ’—which means a station where there are only two
Englishmen. Our nearest European neighbours were sixty miles
away and there was no motor road to the mine where they lived.
Luckily my companion was more of a gramophone fan that I am,
and on many Saturday mornings we closed the office and went
home to play our favourite gloom-dispersing records—Brahms’s
Academic Overture and Bach’s Brandenburg Concerto No. 3.
They are probably not particularly cloud-dispelling pieces to a
critic, but after the fashion in which, for emotional listeners,
certain works become associated with particular moods, so did
these two recordings become the inevitable openings to the
programme after trying mornings of struggles with native
matrimonial troubles. The Bach is the single. disc version by
Sir Henry Wood on Columbia, and the Brahms, also on Columbia,
is played by Mengelberg and the Concertgebouw Orchestra.

After the lapse of a year I came to my present station. I will
not name it, but with its thirty-odd officials, traders, and mission-
aries it is the largest settlement in North-Eastern Rhodesia.
Outside Africa its only claim for notice is that it is the most
southern point reached by the all-conquering German General
von Lettow during the East African campaign of the last war.

Here, although there were but one or two kindred souls with
whom I could talk what we imagine to be informed musical
chatter, I did find that nearly all the people in the place were
willing to listen to certain of my records. The most interesting of

The GRAMOPHONE 11

IN CENTRAL AFRICA

BRELSFORD

the inhabitants was the lay brother of the White Fathers Catholic
Mission, a German who was equally adept at playing Bach on
the mission harmonium, building a church, and painting
Madonnas on its walls. To him, and strangely enough to the Scot
storekeeper, the records that appealed most were the few that I
had of Church music. There was the tenor solo “* I would beside
my Lord ”’ from Bach’s “‘ St. Matthew ”’ Passion sung by Walter
Widdop on H.M.V. D1872. Then Goossens playing an oboe solo
from Bach’s Church Cantata No. 156 on a record from the
Columbia History of Music. I had bought this record because on
the reverse side is “ Herzlich thut mich” sung by the Bach
Cantata Club of London, and of which I had read in some book
that it was the most beautiful thing ever composed. A peculiar
way of choosing records perhaps, but in places where there is no
wireless and no record shops one is thrown into the arms of
critics. In this case my trust was justified.

Another music-lover was the Superintendent of Native Educa-
tion, who must hear Handel. He would come to dinner and
afterwards settle down in his chair and begin to mutter, ** I must
hear Handel.” ‘“ Gerald,” his wife would expostulate, “‘ you
must wait and see what other people want.’’ ‘* Other people
want to hear Handel, of course!’ was his surprised reply.
Thereupon I had to put on the Alcina Suite played by the New
York Philharmonic on H.M.V. E548-9. This Gerald must have
played through at least twice, and then have it followed by
Rachmaninoff playing Handel’s Chaconne, also on H.M.V.

I appear to be wandering from the fact that the background of
this article should be Central Africa. To keep this fact clear I
must state that for long periods, usually of five or six weeks in
duration and amounting to five or six months of the year, I am
separated from my records. During this time I am travelling
round the native villages of the district, covering fifteen miles a
day by foot and sleeping at a fresh camp every night. It is too
much trouble to pack gramophone and records every day in
such a way that they can be safely dropped from the head of a
care-free savage, or upset out of a canoe by a playful hippo.

I therefore return afresh to my few records after frequent
absences, and although I live with my few records for several
years it does not necessarily mean that these would be the ones I
should choose to stand up to the test of long periods of continuous
playing. Moreover, ordering records from Central Africa is both
a momentous and long drawn out proceeding. Even if one is
acquainted with the piece desired one is dependent upon written
criticism, and not actual hearing, as a guide to any particular
recording. Then there is the ordering, and that takes five weeks
or longer to reach London, air mails still being a luxury. Another
five or six weeks before the records come out ; meanwhile one
has been transferred and they wander about the bush for another
week or two before reaching the addressee. The long interval of
two months and more is spent in reading the new record lists and
regretting that one did not wait another month before ordering.
Then when they do arrive Congo Basin duties nearly double the
price. Why cannot records be classed with books and be exempt
from customs duties ? Both ought to be necessities in young
countries, not luxuries.

But to return to my little settlement. The background is com-
pleted with the information that such places always contain a
shifting population, officials, missionaries, and traders all being
liable to transfers made arbitrarily by their superiors. Sometimes
there are enough enthusiasts to ensure a few musical evenings,
but more often bridge is preferred.

My first few programmes were the fruit of much thought. On
my first evening I started off with Verdi’s “‘ E il sol del anima,”
sung by Galli-Curci and Tito Schipa (H.M.V. DAr161). Only
once have I seen this record ridiculed. Sir Ronald Storrs, when
Governor of the territory, stayed on the station and indicated his

t
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12 The GRAMOPHONE

dislike of Italian music by performing the motions of operating a
barrel organ with the opening chords. However, I like the record
and I find that it goes down well with a hearty low-brow audience
as well as with the lovers of Italian melody. The clarity of Schipa’s
voice always attracts more comment than the more famous tones
of Galli-Curci. It has become my opening gambit before an
audience of unknown tastes.

Chamber music is not liked. My only Beethoven Quartet, that
in F major, Op. 135, played by the Lener Ensemble on Columbia,
I have only ventured to perform once. I was not surprised to find
that one side was enough for the listeners. They were hearing it
for the first time, whilst I, after a score or more playings still
listen to it uneasily. To the “ emotional ”’ listener it is a disturbing
work, and I personally always suffer the mental discomfort that
is felt in the presence of a personage who is talking far and away
above one’s own intellectual range.

So chamber music to my mixed audiences is represented by
Haydn’s well-known Trio in G major played by Cortot, Thibaud
and Casals.. Of shorter orchestral pieces the two scherzi by
Bruckner on H.M.V. C2659 arouse the most interest. I heard a
few performances of Bruckner Symphonies in Germany in 1929,
and the straightforward simplicity of his music and the melodies
that must have been written for Viennese strings are reborn on
this disc.

In Africa the gramophone can be the joy of a man’s life when he
is alone in what the novelist calls “‘ the blue ”’ ; but its use as the
focus of social evenings in the small European settlements is
sometimes difficult. From out of only a score or so of people it
is not possible to pick an audience in the same way as can be done
in England. It is usually impossible to gather two or three people
together for the purpose of listening to my one Stravinsky, the
Duo Concertant played by the composer and Dushkin, and on
other occasions my albums are represented by excerpts. Vocal

June 1936

records are more popular than instrumental ones, and in buying
new records I find that my choice is biassed towards them quite
often with the idea of impressing or pleasing some unavoidable
acquaintance who had not liked what he had heard the last time
he listened to my gramophone. I have space to mention just one
or two of the most popular vocal recordings I have. First comes
Moussorgsky’s “* Song of the Flea ”’ sung by Chaliapin on H.M.V.
DBo32 ; then Kipnis singing the Mozart aria ‘‘ O Isis und Osiris ””
(H.M.V. DA1218) ; and lastly Gigli singing “* Addio Mignon ”
by Thomas on H.M.V. DB1270.

I have only touched upon a few of the peculiar phases of the
life of a gramophile in Central Africa. The wild and woolly
indigenous black men, when they have opportunity of hearing a
gramophone also prefer vocal records because whilst they can
recognise a human voice our strange European instruments mean
nothing to them. The wise man who leaves his gramophone
at home when he goes out on trek locks his instrument and
takes out the winding handle, because the house boy left in charge
will always invite his friends round to see all the gadgets his
absent master possesses.

The relations of music and African non-human life might well
be observed. Mr. Compton Mackenzie tries Stravinsky on his
cat, and the Tanganyika reader who was reported in the December
1933 number of THE GRAMOPHONE tried the effect of music on
a flight of locusts. He first discouraged their stay by playing to
them the Mississippi Suite (H.M.V. C1574). The initial success
of this record was consolidated by “‘ The Ride of the Valkyries ”
(H.M.V. D1088), and, it must be admitted, this together with the

- noise made by a number of natives beating tin cans was enough

to drive away the marauding locusts. Their welcome departure
as a lessening cloud in the sky was made to the accompaniment
of parts of Tchaikovsky’s Sixth Symphony played with a soft
needle.

SCHOOL GRAMOPHONE NOTES

(Continued from page 512, Vol. 13)

The Columbia History of Music (VII)

In a well-devised scheme of musical appreciation for senior
pupils it is impossible to proceed far without allusion to the
eighteenth-century classical composers, and the forms in which
they wrote. After all, the whole basis of intelligent listening to
music depends largely on a clear conception of such terms as
symphony, sonata, concerto, overture, fugue, first movement,
rondo, scherzo, &c. How can we hope to understand any im-
portant work written in the last two hundred years without such
fundamental knowledge ?

The Columbia History of Music, Volume III, contains a
wonderful collection of records for use in such work. It is true
that there are not enough examples on the six ten-inch discs
devoted to classical instrumental forms, but the enterprising
teacher should find no difficulty in extending the repertory, using
these records as a groundwork.

The first record (Col. DB830) is a typical first movement form
taken from Emanuel Bach’s Sonata in F minor, and exhibits the
customary three sections (statement, discussion, and re-statement)
built upon two contrasting musical ideas. If it is intended to study
this movement in detail—i.e.,even more fully than suggested in
the handbook—it might be advisable to postpone it until some of
the simpler movements on the following records are understood.
Otherwise there is no objection to working through this Album
record by record. :

On the reverse of DB8go there is an intriguing rondo—a
musical pattern all children enjoy. This is by John Christian
Bach, and is taken from his Pianoforte Sonata in E. There are four
repetitions of the main initial theme with three interspersed con-
trasting passages, and the teacher would be wise to encourage the
pupils to discover this while listening (pencil in hand) to the
record three or four times.

While on the subject of Rondo, further examples by Haydn,
Mozart, and Beethoven should be studied. There are plenty to
choose from, and I will name only one or two more developed
instances that might come at the end of this series: Bach’s Violin
Concerto in E (Finale) on Col. LX410—exhibiting extended rondo
form ; Schubert’s Rondo on H.M.V. DB1041—where the initial
theme is richly varied on its re-entries ; and Beethoven’s Sonata
Pathétique (Finale) on H.M.V. D118g9—one of the best examples
of modern rondo form.

On the first side of DB831 we are introduced to a sonata slow
movement in the traditional simple ternary shape. This is from
another keyboard sonata by Emanuel Bach. On the reverse is the
first recording of a Clementi Sonata (first movement), which may
be compared in style and form with the first record in this Album.

So far, it will be noticed that keyboard pieces have taken the
field. On DB832 the forms reappear in the string quartet, a
lovely Mozart Andante (K.421) occupying both sides. The
structure of the movement is similar to that of the Bach example
on DB831, consequently emphasis should be placed on tone rather
than on form.

The next three records continue with the classical forms for
full orchestra. DB833 is an excellent recording of the opening
movement of Haydn’s Drum Roll Symphony—a disc of which I
find my own pupils never tire, for they thoroughly enjoy following
the detailed description in the handbook as the music progresses.
The same is true of Beethoven’s Fidelio Overture on DB835.
The Mozart slow movement from his Clarinet Concerto (DB834)
has already been recommended in these articles: it is a record
with so many outstanding qualities that it should be in every
collection.

The remaining (vocal) records in the Album, together with
some concluding remarks, will follow next month.

W. W. JoHNson.

Fune Is

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ell Orchestra under M, Eugene Bigot.
his Concertsttick for Harp and Orchestra. 212” H.M.V. 6s 3d. each, The Pines of Rome.
Mile. Lily Laskine and Pasdeloup Or- Paris Conservatoire Orchestra under
er : : ,
chestra under M, Piero Coppola. M. Piero Coppola.
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Karl Erb (tenor) with Piano accomp. Eunice Norton with the Minneapolis
nt 1 10” H.M.V. 2s. 6d. Symphony Orchestra under Eugene
ft Ormandy.
112” HM.V. 8s. 3d.
HAYDN QUARTET - SOCIETY SIBELIUS SOCIETY THE BACH ORGAN SOCIETY
Volume 5. Volume 4. Volume 1.
There is a hint that this may be the Described by many of our subscribers as Plaved by Albert Schweitzer this album
last issue of this Society. In common “the best volume yet.” The Violin of records provides a double surprise, first
with many clients we hope not—this is Concerto with Heifetz as soloist and that organ recording could be so pertect,
y one of the good things you cannot have Beecham and the L.P.O. is a sufficient and second that there is such a widespread
O too much of. Full details of contents guarantee of its quality. May we post demand for really good organ recording.
| will gladly be posted you. you details ? If you have not had your set yet you
n 7 records in album with notes, 42s. 7 records in album with notes, 42s. would be wise to see to it at once,
) 7 records in album with notes. 42s.
]
r . ial a Pe >?
: THE “RIMINGTON REVIEW
5
Part of our service to record clients, this is published monthly
and posted free; it gives a fair and honest review of most new issues

of interest. ‘The June number will be sent you with pleasure so that
you may sample its quality and estimate its likely usefulness to you.

IMINGTON, VAN WYCK. J

42/3 CRANBOURN STREET,
LONDON .W.C.2

Have you (Just opposite the Hippodrome ) Fibre needles
had the June Gerrard 1171. only used in de-
copy of the : monstrations. No
“Rimington record is ever
MD» setis5 g touched with a
Review’ ? Howurs, 9.30 A.M. TO 7 P.M. TuHurspDays, 9.30 a.M. TO I P.M. metal needle.

VI

MARIE BURKE, Soprano.
THE ROMANTIC NOEL COWARD

Two Parts. Record FB1385
RAWICZ and LANDAUER (Piano
Duettists) .

AUSTRIA-HUNGARY PIANO SELEC-
TION. Two Parts. Record FB1389

FLANAGAN and ALLEN. With
Dick Elgin and His Orchestra.

YE B.B.C. Two Parts. Intro. “A Million
Tears.” Record FB1407
LEN FILLIS (Spanish “Electric”

Guitar Solos).

MOOD RUBY (Unaccompanied).

DIPSOMANIA. Record FB1391
AL and BOB HARVEY (Comedy

Duettists at their Pianos).

THE KING OF ZULU.
THE MUTTON SONG. Record FB1387

LES ALLEN and His Canadian
Bachelors. With Novelty Accpt.
LITTLE PICCANINNY MINE.

I’M ALL ALONE. Record FB1388

MANTOVANI and His Tipica Orch.
TANGO MEDLEY. Two Parts.

Record FB1393

SIDNEY TORCH (Organ). With
Carolyn Marsh (Vocalist).

ALONE (film “ A Night at the Opera’’).
GOODY DY. Record FB1383
BILLY MAYERL (Piano Solo).

SIX MINIATURES (Billy Mayerl’s own
Selection No.2). Jwo Parts.
Record FB1397

ANDY KIRK & His
12-Clouds of Joy.
With Mary Lou
Williams, Pianist,
and Vocal Chorus.

No. 1—Christopher Col-

(Guitar).

No. 2— Froggy Bottom,
Fox- Trot.
Record DBS5000 (2/6)

No. 3—Stringing the Blues,
Fox- Trot.

tt No. 4—Black and Blue
umbus, Fox- Trot. Sestemn, Fen-Tret.

Record DBS001 (2/6)

The GRAMOPHONE

1/6 Variety “Star” Series

ALBERT SANDLER and His Orch.
LISTEN TO LISZT. Two Parts.
Record FB1386
HILDEGARDE (Vocal). With Carroll
Gibbons and His Boy Friends.

THE TOUCH OF YOUR LIPS. -
THE GLORY OF LOVE. Record FB1401

THE MUSIC MAKERS (from the
B.B.C. Dance Orchestra) Directed by
Henry Hall.

APPLE BLOSSOM.
BUFFOON. Record FB1384

TURNER LAYTON at Piano.

FOLLOW THE FLEET—Medley.
Two Parts. Record FB1402
A LITTLE RENDEZVOUS IN HONO.-

LULU (With Guitar).
HYPNOTIZED. Record FB1403

THE ROCKY MOUNTAINEERS.
Accompd. by The Bunkhouse Boys.

(az) POLLY WOLLY DOODLE. (+) BIG
ROCK Y MOUNTAIN.

(a) UNDERNEA THE OLD PINE
TREE. (+5) THE TRAIL OF THE
LONESOME PINE. Record FB1390

CIRO RIMAC’S RUMBALAND
MUCHACHOS.
MAXIXE-CARIOCA, Brazilian Medley.
YO MO BA, SON. Record FB1392

NORMAN LONG at Piano

THAT LITTLE BACK GARDEN OF MINE.
AREN’T WE ALL ? Record FB1398
RUDY STARITA (Marimba Solos).
DANCE OF THE OCTOPUS.
OVER THE STICKS (With Xylophone).
Record FB1395

Special Super Swing Music:

wey yoy , Kyo His Orchestra. With

WILLIE LEWIS and

Benny Carter.

No. 5—Star Dust, Fox-Trot.

BENNY GOODMAN

and His Orch. With

Helen Ward (Vocalist)

No. 6—Night Wind, Fox-Trot.
Record DBS5002 (2/6)

Prices not valid in I.FS.

Detailed June List and
complete catalogue
from your dealer or
post-free from Col-
ambia, Clerkenwell
Road, London, E.C.1

|

Colum bia

June 1936

SIR THOMAS BEECHAW,
Con. Lon. Phil. Orchestra.
FESTIVO (Tempo di Bolero) (No. 3 of
“Scenes Historiques”) (Sibelius
—Op.25). Two Parts.
Record LXS50!I (6/-)

MYRA HESS (Pianoforte); JELLY
D’ARANYI (Violin) and GASPAR
CASSADO (Cello).

TRIO IN C (Brahms—Op. 87). Four Records,

LX497-500 (6/- each) in Art Album,
Complete, 24/-
(Also in Automatic Coupling- Records)

EGON PETRI (Pianoforte Solo).
SONATA IN C (Beethoven—Op. 111).

Records, LX491-3 (6/- each).
(Also in Automatic Coupling- Records)

WALTER GIESEKING (Piano Solo).

LA CATHEDRALE ENGLOUTIE (Prelude
No. 10—Book I.) (Debussy). Two Parts.

Record LB30 (4/-)

Three

HUBERMAN (Violin) and Vienna
Phil. Orchestra Con. by Dobrowen.
VIOLIN CONCERTO IN G (Mozari—K.216).
Three Records, LX494-6 (6/- each).
(Also in Automatic Coupling- Records)

PERCY MANCHESTER, Tenor.

DEAR ENGLAND MINE.
BALLADS—By Request.
Record DB1642 (2/6)

ERIC COATES and Sym. Orchestra

LONDON AGAIN—Suite (Eric Coates).
Three Parts.
BY THE TAMARISK (Eric Coates). Part Four.

Two Records, DX736-7 (4/- each)

MARK RAPHAEL, Baritone. With
Roger Quilter at Piano.

WEEP YOU NO MORE.
(a2) TO DAISIES. (6) SONG OF THE
BLACKBIRD. (All music by Quilter).
Record DB1643 (2/6)

MARCEL MOYSE (Flute Solos). With
Louise Moyse at Piano.

LE ROSSIGNOL EN AMOUR
SERENADE (Woodall).

GRAND ORCH. PHIL. of Paris.
Conducted by Selmar Meyrowitz.
OBERON—Overture (Weber). Two Parts.
Record DX734 (4/-)

ARTHUR MARSHALL (Humorous).
A SCHOOL GIRL’S STORY.
THE HEAD MISTRESS. Record DB1646 (2/6)

ORCHESTRE RAYMONDE
FROM THE WELSH HILLS—Selection.
Two Parts. Record DB1644 (2/6)

COLUMBIA LIGHT OPERA
COMPANY. With Garda Hall
and John McKenna _ (Vocalists).
A FANTASIE OF SLEEP—Vocal Gems.
Two Parts. Record DX735 (4/-)

Record DB1645 (2/6)

june

1936

es

is,
n,
4 -

June 1936

The GRAMOPHONE 13

TURN TABLE TALK

in Miniature

By the courtesy of Mr. Kenneth G. Bilbe we reproduce on this
page a photograph of the church which is one of the features of
the model township at Bekonscot, Beaconsfield, Bucks. By an
elaborate system of wiring from a main control-room the village
is not merely illuminated at night—Chinese lanterns adorn the
pier and harbour, and electric lights are everywhere—but sacred
concerts and carillons are heard issuing from the church, and
secular music from the pavilion on the pier. All this is one of the
delightful and ingenious additions to the never-flagging fascination
of the miniature for most of us.

A National Record Library

There are two good instances, on other pages, of the urgent
claims of the sound-record to have
1 national home giving security
for treasures and facilities for
students. In Collectors’ Corner
Vr. P. G. Hurst describes what
are probably unique cylinders of
nistorical value, badly needing a
permanent refuge and show-case
tor public exhibition; while
among the correspondence is a
letter from M. André Mangeot
reminding us that another brilliant
composer has been allowed to die
in our midst without leaving
authoritative recordings of his
work.

It must be sorrowfully admitted
that the National Gramophonic
Society might have repaired this
gap so far as van Dieren was con-
cerned and would have done so if
there had been any evidence that
its members would support such
a venture. But from first to last in the active years of the Society
this evidence was never forthcoming; the most interesting
historically) works recorded were invariably neglected by sub-
scribers—the cream of our readers—and the recognised classics
which were bound to be recorded by the recording companies
sooner or later were most popular.

Things have improved recently, as the success of the various
Society albums shows ; conceivably a van Dieren album might
pay its way over a period of years. None the less it seems fairly
clear that, however much we may all agree with Mr. Gordon
Bottomley that a central repository is long overdue, the only hope
of its establishment lies with some wealthy individual who has
not yet appeared or else with the B.B.C. which is inevitably
hampered in the fulfilment of the scheme in its wider sphere of
usefulness to the community at large.

Purcell Fantasias

Apropos of M. Mangeot’s letter it is worth noting that he and
his colleagues of the International String Quartet have just given
the first ‘‘ comprehensive’ performance in Paris of the Purcell
Fantasias at a concert in the sumptuous home of Madame
Jacqueline de Rothschild, where it is her pleasure to invite all the
best musicians to listen to rarely played music: and on the same
day at the Ecole Normale de Musique before a small audience of
connoisseurs André Mangeot and his wife (Beatrice Huckell)
played for the first time in Paris the Prelude, Interlude and Fugue
for two violins by Elizabeth Maconchy which was played last year
at the Prague Festival.

B2

The Model Church at Bekonscot

Rare Memories

Those of us who have radio sets must make a special note of
Thursday, June 4th, London Regional, 9 p.m., when Mr. P. G.
Hurst is going to give another of his programmes of collectors’
records. Santley’s Non piu andrai will, in spite of promises, have
to be omitted owing to the exigencies of the time-allotment, but
we shall hear rare specimens of the art of Mme. Mey-Figner,
Francesco Vignas, Mario Ancona, Feliz Litvinne, Victor Maurel,
Olimpia Boronat, and one of the Warsaw recordings of Battistini.

Sibelius’s Fourth

There is no doubt whatever about the success of the Society
albums, and it is not cynical to admit that the knowledge that
some of the earlier albums are only obtainable second-hand at a
premium has stimulated the
anxiety of music-lovers to secure
copies of the limited editions of
masterpieces before it is too late.
From the first it was announced
that they were strictly limited ;
but there was a certain amount of
incredulity and not a little pro-
testing in certain quarters.

But all is clear weather and
plain sailing now, and the only
care of the music-lover is_ to
ensure that his dealer informs him
of the pending issues of the various
societies.

The Fourth Volume of the
Sibelius Society is already distri-
buted, containing the Violin
Concerto, Op. 47, Night and
Sunrise and Oceanides; we have
not yet had an opportunity to
review it in THE GRAMOPHONE
but we have received an “* open
letter to the Secretary of the Sibelius Society ’”’ from one of our
readers expressing in vivid and rich language his regret that the
fourth Symphony, in A minor, is not yet vouchsafed to subscribers.
** It is a fact,” he writes, “‘ that is becoming generally known
throughout the musical world that the fourth Symphony is one of
the greatest compositions of all time”; and he concludes with
these words: “ As it is, your policy seems to one of us at least
tantamount to putting the miscellaneous cart before the symphonic
horse. Little wonder then that some of us are surprised that the
economic wheel still turns.”

How now, Mr. Legge ? And so what ?

Broadcast Opera

The problems of broadcasting opera have been discussed in the
press recently, especially as the outcome of the current relays from
Covent Garden and the appointment of Stanford Robinson to
take charge of B.B.C. studio broadcasts of opera after a lengthy
tour of foreign countries for the purpose of studying conditions in
radio stations and opera houses.

Dyneley Hussey in the Spectator for April 17th was dubious
about the possibilities of effective broadcasts of opera by the B.B.C.;
but a Canadian reader very properly wrote (in the issue of May 15)
to point out the great success of the Saturday afternoon broadcasts
by the Metropolitan Opera Association of New York, saying that
“the quality of the reception has now reached a very high
standard and is quite equal to the best gramophone records.”

The whole subject is interesting, and for the benefit of those
who find it so we draw attention to the article “‘ Behind the

14 The GRAMOPHONE

Metropolitan Broadcasts—How the Illusion of an Opera Per-
formance is Brought to your Loudspeaker ”’ written by Lawrence
Abbott for the May number of The American Music Lover. It is
extremely illuminating. This magazine, edited by Peter Hugh

Reed (15c. a month or $1.50 a year) is published at 12, East
22nd Street, New York.

A Baker’s Dozen of Instruments

Metropolitan opera and the big symphony orchestras of
America were the lure to which Prince Prajadlipok, the ex-king
of Siam, succumbed when he ordered one of the new H.M.V.
all-wave Audiograms to be sent to join the dozen radio sets
already installed at his Virginia Water home. He wanted to
hear them ; and during his informal visit to the Hayes factory
the other day he heard an American programme on the “ 485 ”
model, and saw the experimental television work and the pressing
of records and all the other fascinating things that Mr. Alfred
Clark, Chairman of H.M.V., enjoyed showing him.

Needless to say that the Prince “‘ expressed the desire to witness
the recording of a big symphony orchestra at the H.M.V. studios
at Abbey Road.”’ All visitors to Hayes say the same.

Edgar Jackson

It is just six years since THE GRAMOPHONE secured the services
of the leading critic of dance records as a recruit to its well-
established staff of reviewers. This step was taken with a certain
trepidation because Mr. Jackson, being by nature impenitently
garrulous, violent and whimsical in his use of language, not only
needed a good deal more elbow-room than his less authoritative
and more austere predecessors had been allowed, but from the
first declared that he was not able to evince much interest in the
dozens of ** commercial ’’ dance records that every month were
then bought in vast numbers by a public not yet aware of THE
GRAMOPHONE and that he was, on the other hand, a fervid and
almost fanatical critic of the “ hot jazz” or “ modern rhythm ”’
type of dance music. To him it was almost a crusade for recognition
and discrimination ; but he waged his battles with a light-
hearted courage and a critical equipment which impressed even
those who most vehemently resisted his claims.

In those days he represented in his views only a small section
of the public and a minute section of our readers. ‘* Swing
Music,”’ as it is now called, still infuriates a good many people ;
but not even the most frigid or the most apoplectic of its denouncers
can be blind to wider appreciation of its interest now shown all
over the world. The current lists of the recording companies are
ample evidence that swing records are more to the taste of the
buying public than they were six years ago ; and the springing up
of Rhythm Clubs in every direction—more numerous even than
the young gramophone societies—and the publication of the
encyclopedia of dance music, Rhythm on Record, with its
biographies and its “‘ personnels” of nearly every dance record
issued during the last thirty years, are at least an indication that
Edgar Jackson has been slogging away in these pages in the van
of a movement which is indubitably moving.

Let us leave it at that without arguing whether the movement
is forwards or backwards, whether in the domain of music or in
outer darkness. We can on this occasion agree to congratulate
our friend (or enemy) Edgar Jackson on the tangible progress of
the cause to which he has contributed his diffuse projectiles month
after month in THE GRAMOPHONE.

Grand Prix “Candide” 1936

The “ Faust” Symphony of Liszt (Columbia LX455-61,
reviewed last February, p. 371) was voted hors concours by the
eleven members of the jury of the annual competition organized
by the French magazine Candide and brings great honour to its
conductor Selma Meyrowitz who, it is declared, est, décidément,
dans le domaine polyphonique, le roi des graveurs sur cire. Gustave

June 1936

Charpentier presided over the jury and it must have been with
his approval, if not out of compliment to him, that the jury gave
the grand prix for the section “‘ Théatre Musical ”’ to the recorded
version of ** Louise ”’ about which Miss Jardine writes on another
page. Mme. Landowska and M. Borovsky share the instrumental
prize with Rameau’s La Poule and Bach’s English Suite in G mino
respectively ; and in the section of “‘ Musique Ancienne ”’ our
friends of the Boite 4 Musique have won the prize with a recording
of the Romance Gaillarde et Courante of Marini.

Tunes Competitions

The January competition was designed to discover the most
easily remembered melodies in chamber music. ‘‘ You simply
write down your choice of melodies as they occur to you and as
you are able to hum them to yourself,”’ wrote the Editor, “‘ and
allot them to their proper works and movements.”’

The six winning melodies, by majority voting, are:

1. “* Austria’? Theme from Haydn’s Emperor Quartet in

C major, Op. 76, No. 3

2. Andante Cantabile from Tchaikovsky’s Quartet in D major,

Op. II.

Andante con moto from Schubert’s Quartet in D minor

(‘* Death and the Maiden ’’).

Andante Cantabile from Haydn’s Quartet in F major,

Op. 3, No. 5.

Allegro moderato from Schubert’s Trio in B flat, Op. 99.
Allegro moderato from Beethoven’s Archduke Trio in B flat,

Op. 97.

The winner is Mr. A. C. Gilpin, Kentmere House, Castor, near
Peterborough, who chooses five out of the six correctly and
substitutes the Finale-Presto of the Kreutzer Sonata for the
Archduke Trio. He thoroughly deserves the prize, an H.M.V.
album of the Brahms Sextet in B flat, Op. 18.

Runners-up were Edwin Hardy, M. Cannon, J. B. Leischman,
Robert Angus Lewis, H. J. Rae, and E. W. B. Astle.

The melodies chosen by various competitors amounted to more
than sixty: the theme (fourth movement) of the Trout Quintet
nearly reached the final six, but there were some interesting
solitary choices stich as the beginning of the second movement of
the Paul Juon Chamber Symphony (N.G.S.) and the Minuet
(trumpet solo) from the Saint-Saéns Septet (Columbia).

ree ee

Hats Off, Gentlemen !

So Eileen Joyce comes into the limelight again this month with
a notable recording (made at the same session as the Mozart
Rondo) ; and readers will be glad to see the name of Jelly
d’Aranyi on a record again and to find with it the reappearance
of Myra Hess on the first records she has made since she received
the signal honour of a C.B.E. in the New Year’s Honours.

Myra Hess, owing to her illness, had a shorter American tour
than usual last winter, but Ethel Bartlett (with Rae Robertson, of
course) carried the banner of British piano playing over some
fifteen thousand miles of the North American continent, with
forty-two concerts in four months, and some interesting experiences
such as an earthquake tremor during a recital at Montana and a
black-out during another which was played to a triumphant
finish by the light of four guttering candles ; a narrow escape from
the floods ; three days with Lyell Barbour at Los Angeles and
San Diego; and changes of temperature from 50 below to
50 above.

However, they have come back in great spirits and are broad-
casting on June 12th—among other things an arrangement for
two pianos by Hubert Foss of the Bach Chorale, ‘* See what His
love can do,” and a piece in B minor by Ropertz (pupil of César
Franck) which they have recently added to their repertoire.

It sounds as if they ought to be making some more records.
There is one left in the H.M.V. General Catalogue, apart from
the half-dozen in the Connoisseur Catalogue and those which are

in the N.G.S. list on p. xii.

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Fune 1936”

A Flat Competition

The Editor’s little problem in the last issue, ““ What popular
song of the war period begins almost exactly like a melody in
Cavalleria Rusticana ?”’ has elicited, not the five correct solutions
which might have won prizes, not four, three, two or one: not
one, in fact. The postcards sent in by readers assert a resemblance
between the Intermezzo and (a) ‘“* Old Soldiers never die,”’ (6)
‘‘When you come home, Dear” or between the Siciliana and
‘‘ There’s a long long trail,” or between the Easter Hymn and
(a) ** There’s a long long trail,” (6) “* Roses of Picardy.”” One
competitor vaguely suggests that “‘ Keep the Home-fires burning ”’
begins like a melody from the opera.

The Editor declares that what he had in mind is the resemblance
between the end of the opening chorus Aranci olezzano and “ If I
tell them how beautiful you are.”

A Russian Concert

An old friend of THe GRAMOPHONE and contributor to its
earlier numbers, Nicholas Nadejine—now a naturalized British
ubject—begins an interesting survey of Russian music in this
number. He covers a mere twenty-five centuries, which make the
half-century of the gramophone era seem more fussy and “ tatty ”’
than ever. A fine baritone singer himself—his Velvet Face records
are now almost collectors’ pieces—Mr. Nadejine is giving a
recital at 5, Brechin Place, S.W.10 on Tuesday evening, June gth,
which promises to be one of the rare musical events of this season.
Tatiana Makushina and Vladimir Rosing are also singing, and
the programme includes, besides works by Borodin, Moussorgsky
and Taneieff, five new poems written and set to music by Mr.
Nadejine himself.

Tickets may be obtained from the Princess Vladimir Galitzine,
20a, Berkeley Street, W.1.

Telefunken

The success of the English pressings of a Telefunken record of
Sibelius songs introducing Rauta Waara to the collectors of Lieder
has led to an extension of the idea of bringing these German
recordings within our reach. Dvorak’s ’Cello Concerto is
reviewed in this issue and others, including an irresistible recording
of Eine kleine Nachtmusik, are promised. All are pressed in England,
sold by any dealer at red-label prices and obtainable by the
trade from Mr. H. H. Nathan, 15, Edgehill Avenue, Finchley,
London, N.3.

The Music Trades’ Benevolent Society

From Mr. Herbert A. Bain, J.P., Secretary of the Society,
comes this note: ‘‘ A recent analysis of the assistance bestowed
through the Society upon the 165 past annuitants reveals some
interesting statistics. In several cases the total sum paid was over
£400, and in the case of a very elderly annuitant in receipt of
assistance for many years, the amount paid out was £507. Others
ranged from £150 to £200. This is exclusive of temporary
assistance constantly given urgent and deserving cases. These
figures refer to late annuitants and similar sums are in process of
payment in respect of the existing ninety-five old people.

** All this money has to be found by voluntary subscription, and
the Society was never in greater need than now. The music
industry has done its best in the past and will, I feel sure, rally to
the urgent need of the moment. It is a duty which cannot be
shirked. Please send your subscriptions and donations to the
Secretary, The Music Trades’ Benevolent Society, 64, Gresham
Street, London, E.C.2, and they will be more than welcome and
duly acknowledged.”’

Raymond Tobin

Congratulations to friend Raymond Tobin on becoming
editor of the Music Teacher and Listening. He relinquishes the
Music Seller which now is combined with our brilliant con-
temporary The Pianomaker, edited by Herbert Sinclair.

The GRAMOPHONE 15

Golden and Silver Voices

The fact that 27,000 competitors entered for the tests organized
by the News Chronicle and Gaumont-British Corporation to
discover a “ golden voice”’ (i.e., for operatic or concert singing)
and a “silver voice”’ (7.e., for crooning through a microphone)
was distinctly encouraging. In G.B. cinemas all over the British
Isles eliminating tests were held by prominent local judges ; and
in due course the thirty semi-finalists were brought to the Mayfair
Hotel, where they were addressed (after dinner) by Lady Ravens-
dale on the possibility of turning out to be British Flagstads, and
warned by Mr. Eric Maschwitz not to imitate American singers.
After a day of semi-finals before large audiences, the six “‘ Silver ”’
finalists came to the Dominion Theatre on Thursday the 21st and
sang one song each into a microphone before a huge audience and
a panel of judges—Geraldo, Harold Huth, Louis Levy, Fred
Marlow, T. P. Ratcliff, Christopher Stone, and Jay Wilbur.

An ordeal, no doubt ; but why on earth was the first singer
allowed to sing so close to the microphone that, poor girl, quite
unconsciously she blasted her chances of success from start to
finish ? Why from the whole British Isles had only two distin-
guished crooners been found ? They were Doria Charles, of
South Woodford (nineteen years old and a pupil of Mrs. Percy Pitt)
and Dorothy Auckland, of Whalley Range, Manchester (twenty-
two years old, with a most striking quality of voice) ; the audience
preferred the latter, the judges gave the prize (£100) to the
former. Both girls will no doubt have a future of distinction. But
he would be a bold man who prophesied a big career for any of
the other four.

It was worse with the finalists in the “*‘ Golden” voice com-
petition (without microphone) at the New Victoria on the
following evening. There was only one outstanding voice (broad-
cast by the B.B.C. in ** Saturday Magazine ”’ on the 23rd) and it
belonged to Marjorie Savage (thirty years old and a cripple) who
sang Vissi d’ Arte with enormous effect on an audience that recog-
nised the courage and pathos of her performance. The rest were
nowhere in comparison.

The judges were Baroness Ravensdale, Astra Desmond, Mignon
Nevada, Eric Coates, J. A. Forsyth, H. Plunket-Greene, Harold
Huth, Parry Jones, and Christopher Stone.

>

Pseudonyms

“It is about time that someone protested against the use of
pseudonyms by singers and instrumentalists in making records.
In the old days when there was no crowd of competent radio
artists and when the knack of recording through a horn for the
gramophone was mastered by relatively few people, it was con-
sidered normal for some of the most efficient performers to record
for different companies and even for the same company under
different names. Robert Howe, Harry Fay, Fred Douglas, Cavan
O’Connor, and Maurice Elwin, for instance, might be heard in
solos and duets under a variety of names. If an Olive Groves were
under contract by name to one company, she would appear as
‘Anne Welch’ or ‘ May Wynn’ on other labels; Len Fillis
and his guitar would become Phil Lenard ; Rudy Starita would
appear as Rudolf Star ; while famous dance bands would make
records without their leader and these would be issued under a
fictitious name .. .

‘‘ Sometimes a singer became as well known under an alias as
his original name. Norman Blair is probably best known as
Maurice Elwin, and I have seen Fred Douglas announced on
posters as Ben Malone, the name adopted by him in his pioneer
series of hill-billy records for Decca.

‘‘In these days of competition that has hit many most worthy
artists unfairly it would be a good thing if artists, and singers in
particular, should have an honourable understanding among
themselves that they will broadcast and record under their own
names or anonymously, and will never attempt to build up the
names of artists that do not exist individually by adopting
pseudonymns .. .”

From the Sunday Referee weekly gramophone article, April 26.
CHRISTOPHER STONE.

16 : The GRAMOPHONE

June 1936

BACH’S “ART OF FUGUE”

Die Kunst der Fuge (Bach). The Roth Quartet: to which
is added Sir Donald Tovey’s playing of his conjectural
finish. Ten 12 inch records and “ The Listener’s Guide to
the Art of Fugue,” by Sir Donald Tovey. Columbia
Album, £3. By subscription only.

te performance of Graeser’s orchestral arrangement of the
Art of Fugue at Queen’s Hall has now become an annual event :
but the many lovers of Bach who have not yet made acquaintance
with this great work should know that the long sequence of fugues
in the same key stand in no need of the extraneous attraction of
orchestral colouring to relieve what one might imagine to be an
inevitable monotony.

There is no monotony: so infinitely
varied are the resources which Bach
brings to bear upon a theme chosen for
its musical suggestiveness. The value of
the string quartet transcription so skilfully
made by Roy Harris and M. D. H. Norton
lies chiefly in a greater clarity being given
to the parts than is possible at the key-
board ; and also, it must be added, in a
greater dynamic expressiveness.

It has for some time been part of the
musical discipline of the writer to play
through the Art of Fugue once a year. To
remove any chilling effect that the word
‘* discipline ’’ may imply, let me say that
the scheme includes the playing through
also of Bach’s “48” and the piano
sonatas of Mozart, Haydn, and Beethoven.

It is true that the performance of some
of the fugues are a tussle of spirit and flesh,
but one never feels that, compared to the
“48,” the Art of Fugue was “‘ as a machine-
bowelled factory to the sunlit, rain-swept
fields of corn and clover,”’ as Mr. Rutland
Boughton has suggested. This was the
view very generally taken until quite
recently, and that it has changed is due
in great measure to the researches of Sir
Donald Tovey, who has contributed a @

Record of
the Month ° all the Souk tee ane by being

Pe ey

EILEEN JOYCE
in Turina’s
Rapsodia Sinfonica

(see p. 21)

keyboard when the fingers were fully occupied. It is best to play
the two “ mirror-fugues ” as a musical diversion apart from the
sequence of the work, and to pass from Contrapunctus XI to
Contrapunctus XV. Remembering this was the last music Bach
wrote with his own hand—for he dictated the chorale When we
must suffer deepest woe (Aus tiefer Not) to his son-in-law a few days
before he died, being then completely blind, and this work has no
connection with the Art of Fugue, though played on the organ at
the end of it at the performances in Queen’s Hall—I was moved to
tears, as ever, when the BA CH theme appeared in this final
Contrapunctus on three Subjects. Very soon after the music stops
abruptly. Sir Donald Tovey, and only such a great musician as
he would have dared to undertake the task, plays his conjectural
conclusion on the piano. No one could
have done it better. The introduction
of the piano at this point, clear as is

Donald’s shows how

recorded in the string quartet tran-
scription. I cannot praise too highly the
restraint, the balance, the artistic integrity
of the Roth Quartet’s magnificent per-
formance. They play finely all through,
but in Contrapunctus XV as if, indeed,
men inspired.

The only criticism that suggests itself
is that the tone of the leader sounds a
little acrid on his upper D’s and E’s—a
thing I do not remember noticing in a
previous recording of this young and
splendid quartet (Mozart Quartet in A,
Columbia LX476-9).

Sir Donald Tovey’s pamphlet says all the
wise things we expect of him ; but lest any
Bach lovers are hesitant before sucha display
of fugal resource as this work,'let it be said
at once that the music will speak to the
hearts ofall those who are able to feel deeper
than surface emotion, even if they are quite
ignorant of the workings of the fugal form.

The Art of Fugue is a great musical

most valuable guide to the records. .

Parry, in his ‘“* John Sebastian Bach ” (1909), gives the impressio
that the music is for the most part restrained to the point of
frigidity, and says that “‘ the greater part of it does not come within
the range of practical music at all ’—and is not intended, indeed,
for performance either at the keyboard or in any other way!
Even Schweitzer says that we are introduced by the fugue theme
to ** a still and serious world, deserted and rigid, without colour,
without light, without motion: it does not gladden, does not
distract ; yet we cannot break away from it.” I cannot believe
either man would hold to these verdicts after hearing this per-
formance. For it reveals in the Art of Fugue, as here presented
without the four canons, and perhaps omitting the “ mirror
fugues *’ which do disturb the continuity of the work, one of the
most noble manifestations of the religious spirit of man in music.

The “‘ motto ”’ fugue theme, which was said to be characterless, at
once impresses itself on the mind : and from the first fugue (or more
accurately contrapunctus) to the seventh its treatment gradually
grows in beauty and expressiveness. Here we should pause for a
while, for Bach is to leave the setting forth of the combinations of
the subject with itself for the ‘“‘ much more important task of
combining the subject with other subjects.”

From.the eighth contrapunctus to the end we are taken into
realms of ineffable beauty, and as I have listened to these records
I have frequently marked on the score such epithets as “‘ glorious,”
‘* exquisite,” at points not so carefully observed before at the

—_| cathedral. It is like the greatest church
in the world—Chartres Cathedral.

We look at the northern or southern portals of that Cathedral
with emotion and wonder. A complete impression is received.
And then we might spend a lifetime going into the details of this
astonishing piece of architecture.

That it is actually possible to do with the records of this glorious
music, and Sir Donald Tovey’s ‘‘ Companion to Bach’s Art of
Fugue ” (Oxford Press) will be the guide, philosopher, and friend
on the way. A

LANGUAGE TALK IN GERMAN

Paula hat geburtstag (Paula’s Birthday). Spoken by Else

Johannsen and A. M. Winter. H.M.V. B8415 (10 in.,
2s. 6d.).

This is the first of a series of dialogues broadcast by the B.B.C.
in the autumn of 1935. It may be described as an exercise in
brighter German for fairly advanced students, and it contains
plenty of colloquialisms, some of which (on side 2) become
pretty caustic. There are one or two picturesque touches which
help to maintain interest—the singing of the German equivalent
of “‘ For he’s a jolly good fellow!” the recitation of a familiar
Volkslied, and the restive dog in the background. The rate of
conversation is normal. A printed leaflet, with full German text,
is issued with each record. W. W. J.

Fune |

ear

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- “a fe. oe th “eee eee

936

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June 1936

ANALYTICAL NOTES

The GRAMOPHONE 17

AND FIRST REVIEWS

[Those marked with an asterisk (*) are additions to the H.M.V. Connoisseur Catalogue or Columbia Collector’s List.]

ORCHESTRAL

Queen’s Hall Orchestra (Wood): London Symphony
(Vaughan Williams). Decca, X114-8, in album with leaflet
by P. A. Scholes (12 in., 25s.).

I have not the leaflet, which is sure to be good. Columbia, in
earlier days, recorded the work, which was first performed in
1914. Vaughan Williams likes to revise his music ; a novelist
can revise for later editions: a musician, rarely. My miniature
score (Stainer & Bell, 1os. 6d.) is the old version, but the changes
are not heavy. I understand that new scores (miniature also) are
preparing. “ V. W.” is growing: whether up or down, who
knows ? His latest symphony only partially digests, in me. I still
like some of his earliest work the best—the Sea Symphony, which
should record well, now that we get the values better balanced.
(I am told, by the way, that the smallish amount on some sides
here is due to the wide-groove recording used to bring out the
bass, which is very significant.) ‘“* V. W.”’ has some rich, solid
English traits: the best of his later mind, I think, is in the
Pastoral; and the Tallis for religio-mystical evocation. His
modalism and folkiness have always got me down pretty quickly :
it is as well to recognise one’s limitations sometimes !

I have never found any words written by a composer about
** programme ”’ music that were very reasonable, or that explained
his ideas at all clearly. Nearly all say that their music isn’t to be
considered descriptive, and then they put in bits that nearly
everybody thinks descriptive. ‘* V. W.”’ says this work “ is in no
sense descriptive,’ and that though his Westminster chimes,
lavender cry and lively Nocturne impression “ give it a tinge of
‘local colour,’ yet it is intended to be listened to as ‘ absolute ’
music.” But if a work is called a ‘* London Symphony,” we are
bound to seek London in it (not necessarily, of course, the London

- Of Cockaigne). There is very little here that I can recognise as bring-

ing up particularly any London I know. The Westminster can be
compared to Monet’s misty painting, but the slow movement
doesn’t take me back to my Bloomsbury afternoons. But the
imagination in the music is the thing to listen for.

First movement.—The start is poetic. We shall hear again, at
the end of the work, the opening rising figure—perhaps a sugges-
tion of dawn here, and later of the city’s settling to rest. The
themes are short: the Westminster half-hour opens the door for
them. As the composer has said that the first movement “ may
perhaps suggest the noise and hurry of London, with its always
underlying calm,” we can size up the varied elements as we
please. There are longer tunes on side 2. One thing that has
never quite settled down, for me, is the Cockney-ragtime element,
and the other, the mystical-modal. Not that these, or any other
incongruous elements, can’t be found in London ; but I doubt if
the composer has assimilated them entirely to his scheme. The
developmént muses for the rest of side 2. One can hear the
influence of his Tudor affections, both here and on side 3, where
his best line of country is followed. I don’t think the composer is
often very strong in loud, fast work: there is an element in him,
as in most English composers, of what (using the phrase not
harshly) I must call the “ forcible-feeble ’’: one that deserves
close discussion in connection with the British make-up ; for

instance, the start of side 4—those repetitions and the aspiring
theme don’t come off, for me. One strong quality is compact-
ness ; and he makes a good swift end.

Second movement.—I think this and the Scherzo have the best
imagination. Bloomsbury on a November afternoon is a fair clue,
given us as a suggestion by the composer. The mood is meditative :
the cor anglais sets that. Early on side 5, after that effective throb
in the strings, a solo viola gives out a new theme, in familiar
modalism. The lavender cry stands out (side 5, 14 ins.) among
backgrounds which may hint at older days. This is developed.
It is not a very far cry from this side to the Tallis music. I have a
feeling that the movement might suggest musings at the Tower—
** old, unhappy, far-off days’; but the memories are not quite
unhappy, perhaps : only subdued, almost mystical. On the whole,
it isn’t particularly London to me, but it is inward music of
sincere, poetic aspiration.

Third movement.—Here the depictional intent is obviously
clearer, but I don’t get very near to the composer’s idea of
‘** Westminster Embankment at night, surrounded by the distant
noises of the Strand .. . great hotels and the New Cut. . . crowded
streets and flaring lights.” It’s too nearly Chelsea, of the Arts,
for me. The treatment of the material is better than the ideas
themselves. The mouth-organs or concertinas on side 7 (# in.)
got in before Mr. Minevitch’s symphonisations. The chunk in
the middle of this side seems to me to illustrate again the “ forcible-
feeble ’’ element on which I wish someone would write a thesis.
We British badly need something to show our musical selves to
us. *“* V. W.”’ makes good ends. Listen to this one.

Finale.—A big upthrust, which, like the greater part of the
recording, strongly needs a steel needle, without which a good deal
is lost. The scale and purpose of this bigger motion is a large part
of the work’s effect. The march here is solemn: perhaps, the
ideal London. The harmony is sombre, and I find it oppressive.
The strength of the movement is much superior to the composer’s
usual level, but I cannot say that I have a sufficient idea of what
he is so grimly driving at. On the last side the mood returns to
that of the work’s beginning. I think anyone who does not expect
literal ‘‘ programme ” music will enjoy the symphony, to which
the recording does well-balanced justice ; notably in the softer
wind values does it please me.

Berlin Philharmonic (A. Wolff) : Music from Pelléas and
Mélisande (Fauré) and Pavane pour une Infante défunte
(Ravel). Decca-Polydor, CA8229~30 (12 in., 8s.).

Fauré is neglected ; and there is not so much marvellous music
being written to-day that we can afford to neglect even moderately
interesting music of the past. That the French prized Fauré means
little: for, with all respect (that is, all due respect) to the French,
their world admits so few composers that are not French—to be
French is ipso facto to be first rate: indeed, to be all-sufficient.
Perhaps there is some quality in the urbanity, the peculiarly
French polish of Fauré that we do not appreciate very highly ;
artificiality, we may feel, is near the surface of so much French
art. But there are many pleasures in his work, and I have never
heard any of it without a good deal of enjoyment. It is usually
quiet enjoyment. He is apt to spin out, and be a little thin-
blooded, like most Frenchmen since Berlioz. ‘* Clarity and
restraint,’ the French call it. But Fauré was a Southern French-
man: his optimistic music could glow with a quiet warmth. It
was classically founded, and he upheld good taste in a weak period.
But we hear so little of Fauré’s whole work, during a lifetime of
close on eighty years ; it would probably be rewarding to go
through his output (as through d’Indy’s). Every piece of well-

ced music is a bulwark against ugliness: and to-day we need
them all. I like the description of Fauré as “‘ musicien d’intimités.”

He has been overshadowed, in our minds, by the school of Franck,

18 The GRAMOPHONE

and by Debussy ; but though he brought forth few works on the
biggest scale, his songs and chamber music contain choice things
we ought oftener to hear. None of his pupils has done anything
like sowell as he did, even those with high talent.

Fauré wrote his Pelléas music apparently in 1898, when the
English version of Maeterlinck’s play was produced here. There
are three movements—Prelude, Fileuse, and Sicilienne. ‘The first,
quietly, chastely musing, one may take it, on the tragic story of
the lovers. There is a touch of Golaud’s horn—he first meets
Mélisande when hunting. The end, with its gentle rise, and the
final echo, is typical of the composer’s delicately suggestive method.
Fileuse: against a light background of the spinning wheel a
meditative tune wanders; there is a rather darker shade at
moments—a good example of the refinement of Fauré’s evocative
style. The theme of the last item may be familiar. Its motion is
tender, its orchestration felicitously creamy. ‘The little suite is
not music to excite, or perhaps greatly to stir one ; its reticence
may be felt by some to contain an element of enervation, which
the recording seems cleverly to suggest ; but it is in tune with
the melancholy, misty drama. Ravel’s pavane is for a princess
(infanta), not, as the label has it, for a child (enfante). It was first
written for the piano, and then scored for a small orchestra of
wood-wind, horns, harp and strings. Its languorous grace, com-
bined with a grave formality of aristocracy, are happily felt and
conveyed in this recording. ‘Two discs, then, of music for a mood,
not of every day.

Berlin Philharmonic (Karl Bohm): Prelude, Act 3, The
Mastersingers (Wagner). H.M.V., C2840 (12 in., 4s.).

This is a record of quiet loveliness: one of Wagner’s richest
pages. On the sunny morning of the festival day, Sachs sits
thinking. He has given up his hopes of Eva, whom he dearly
loved, in order to further the happiness he knows that she and
Walter live for. It is this fine spirit that makes Sachs the real hero
of the opera. The opening string theme has already been heard in
his song in the previous Act. “‘ Eva,’”’ said Wagner, “‘ has under-
stood that suppressed cry.” This theme, then, is that of noble
resignation. Sachs is “ resolved to wear a brave and cheerful
face before the world.”’ In mid-side the horns take up the chorale
tune, Sach’s hymn of greeting to Luther and his work. The earlier
song is again recalled, on side 2, and with the attendant hymn,
and, at the last, a recollection of the fine text of the opening, this
lovely lesson in serenity of soul ends. Well for us all if we could
learn it.

Berlin State Opera Orchestra (Melichar): Bartered Bride
Overture (Smetana). Decca-Polydor, CA8232 (12 in., 4s.).
This will banish the pale thought of Pelléas. The recording is
not, with my fibre, as big as the music can stand. Steel brings it
up well. That opening bustle is always good sport. A good many
equal accents are left in, so that the music ploughs rather heavily.
Themes with so much repetition of little phrases need more
finesse. The final working-up is the best bit. The Bride isan
opera we should be delighted to hear in our regular repertory, if
we only had singers who could do it. I see that by 1932 the Czech
National Theatre had done it 1,200 times. It has been filmed.
Shall we hear that version ?

Festivo
LX501

London Philharmonic Orchestra (Beecham) :
(Tempo di Bolero) (Sibelius). Columbia
(121n., 6s.).

This is the third of the first set of Historic Scenes (Op. 25). The
date is 1899, the year of Finlandia and the first Symphony. I have
no clue as to the scene that Sibelius had in mind. The music
begins in that bustling spirit that we are familiar with in, for
instance, the Karelia Suite and parts of the symphonies. There is
plenty of variety in small space, and it is rather curious to find
Sibelius using the castanets; his bolero does not, however,
become very hotly Southern: there is always the Northern tang.
But the idiom is not strongly national, nor is the melodic value

June 1936

high or very fresh. There is a good moment in the coda;
otherwise the best interest is in the way the orchestration carries
us along. This the recording illuminates most pleasingly. A small
sample, then, with nothing outstanding in it to throw new light
on the composer.

*Philadelphia Orchestra (Stokowski): Es ist vollbracht
(Bach). H.M.V. DB2762 (12 in., 6s.).

This is Stokowski’s arrangement of the alto air Jt is finished,
No. 31 in the St. John Passion—the meditation, after Christ’s
death. In Troutbeck’s translation (Novello) the first section has
the words “‘ It is finished. O rest for all afflicted spirits.”” At about
an inch from the end of side 1, the new orchestral colouring, and
the duet, bring in the theme “ This night of woe makes me upon
my last hour ponder.”’ Early on side 2 a vivace changes the
emotion: ‘* See, Judah’s hero triumphs now, and ends the fight ! ”’
Towards the end of this section the bass marches grandly up an
octave ; but the jubilance is stilled by the former thought: “ It
is finished,’’ and the deeply-moving music comes to‘its end as it
began, with the sad descent to the low keynote. There cannot,
I think, be anyone to object to such a transcription, making yet
another beautiful record of Bach at his finest.

Minneapolis Orchestra (Ormandy): Andante cantabile,
from Quartet, Op. 11 (Tchaikovsky). H.M.V. DA1461
(10 in., 4s.).

No harm, one thinks, in transferring a quartet movement such
as this to the strings of the orchestra—the interest being almost
entirely that of the solo tune, its mildly melancholy harmony, and
its agreeably monotonous middle-section accompaniment. The
movement is a beautiful little model of simple form and style. It
is taken not too slowly (as it sometimes is), and handled with
quiet taste.

*Minneapolis Symphony (Ormandy): First Roumanian
Rhapsody (Enesco). H.M.V. DA1433-4 (10 in., 8s.).

This, I warn you, is repetitive and sometimes noisy music:
Enesco referens! The composer (4. 1881) has said that Roumania
is a Latin, not a Slavic, country ; that its folk-song is influenced
from Indian and Egyptian sources. The gipsy element we can
readily hear. The work is simply a few tunes very loosely strung
together, with ample spirit, but nothing much else. Doubtless,
to Roumanians the tunes would be sufficient. To us, they are
not. This childish music amuses for a few minutes, and then we
want little Willie to go to bed and let us get on with grown-up
talk. But some of the little tunes have a simplicity that is engaging,
for a while. Myself, I soon tire of the peasantry, and am not a
desperate folkist, I fear. I think the greatest masters got on best
when they left the folk alone. The real folk-tunes, in simple form,
I enjoy (a lot of them are not the best). This orchestra makes the
music sound less noisy than I remember it in the concert-room.
But nothing can make it more than a series of not particularly
interesting themes—like any issue of the Daily Snapshot, ‘* with
scarcely any words at all.” But long-suffering readers will know
that I prefer my music mixed with brains. Certainly, there isn’t
a headache in a boxful of such records as this: only, alas, there
isn’t much head, either.

Czech Philharmonic (Jalich): Slavonic Dance No. 4, in F
(Dvorak). H.M.V., B8437 (10 in., 2s. 6d.).

Another of the ingratiating dances, of which a short series is
appearing. Unlike Enesco, Dvorak does something with his tunes,
even though he takes his time, and does not lay a heavy weight
upon either his brow or ours. At times his material is thin enough,
but felicities of treatment usually carry off small ideas. There is
plenty of room for trifles, when they are artistically dished up,
but the musician demands tasty garnishing. It is not every com-
poser who can be simple, and satisfy. This sweetly recorded
piece is just a pleasant, mild recreation.

June

Ray
Wit

June 1936

EILEEN JOYCE
The Gifted Prantat

Rapsodia Sinfonica (Turina). Two Parts,

With Orchestra conducted by

Clarence Raybould £11299 (4/-)

CELEBRITIES

TAUBER, SINGING IN ENGLISH
Until - ) RO20308
! Hear You Calling Me oe (4/-)

LOTTE LEHMANN, Soprano
Aus Tiefer Not (VWhen in Deepest )
Need), Choral - - | RO20309
Ach Bleib’ Mit Delner Gnade, | (4/-)
Choral - - - -
(Both Sung in German, with Organ)

KOLOMAN VON PATAKY,

Tenor

Die Fledermaus—Act |: Trinke )

Liebchen (Drink, Sweetheart) - | R2205

A Night in Venice—Act |: Sei (2 6)
mir gegriisst (| Greet Thee) -

JOHN HENDRIK, Tenor

Medley, In Two Parts - - R2208 (2/6)
Intro: Diane; My Blue Heaven; Mello
"Cello; just Like a Melody; Marcheta;
I'll See You in My Dreams.

HERBERT E. GROH, Tenor

The Opera Ball—im Chambre Séparée R2204
Lieb’ Mich (Love Me and the World - (2,6)
is Mine) : )

GRAND SYMPHONY Orch.

Intermezzo from ‘‘ 1001 Nights” ) R2206
(J. Strauss) - (26)
Tritsch-Tratsch, Polka (j. Strauss) )

The Lae META SEINEMEYER,

Soprano
Un Ballo in Maschera (Verdi) - ) £11300
Act 2: Amelia’s Aria. In Two Parts | (4/-)

With Orchestra of State Opera House Beilin
Conducted by Dr. Weissmann

98, Clerkenwell Road, London, E.C.|!

The GRAMOPHONE

THE’ ‘PUBLIG
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| STARS OF VARIETY
“HUTCH ”’ at the Piano

Tormented - ) F467
Dream Time - - - ) (1/6)

MICHAEL CARR, The Popular Song
Writer in His Own New Hits

He was a Gentleman’s Gentleman ) F480
The Lady from Mayfair - -j (1/6)

ROSINA DIXON, The Singing Cook
from * All ange at Capers Circus "’

My Dear Soul - - - ) F481
Danny Boy - : -) (1/6)

WILFRID THOMAS, Baritone

Songs of the Sandman. in Two Parts - F479 (1/6)
IVOR MORETON & DAVE KAYE

On Two Pianos, with String Bass, Drums

and Hawaiian Guitar
Waltz Medley. in Two Parts -

- F466 (1/6)

LILIAN HARVEY

in a Song Medley from her new
Continental film

“BLACK ROSES”

Fantasy—Intro. Two Sun-Worship Dances; ) R2207
Valse Triste; Black Roses; Finnish Hymn - (2/6)
To-day |am Happy, Waltz Song - -)
Both with Goahomen: and Choir

on PARLOPHONE

1936 ‘* Super Rhythm-Style ’’ Series

No. 7—Tillie’s Downtown Now’ - )} R2210
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BUD FREEMAN and His Windy City Five

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abash Blues — THE / (2/6)
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HARRY ROY and His Orchestra

Goombay Rumba Drume, _Rumbe |
Fox-Trot - - - F460

Dill Pickles-Rag - -J

Rise ’n * Shine, ee (from “ Rise and )
Shine’ . - . F6t

The Glory of Love, Fox- Trot - -)

NAT GONELLA & His Georgians

Vocal Refrains by Nat Gonella
i’se a Muggin, Fox-Trot - - .

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Yes! Yes! Yes! Yes! Fox-Trot - . 5 Fae
= the Gong Around, Stow Fox- )

Tro : - |. F463
His Old Cornet - -)

THE KRAKAJAX
Novelty Dance Band

Christopher Columbus, Fox-Trot - )
Counting Crotchets in My Sleep, - F468

Fox-Trot - -)
Taint Nobody’s Biz’ ness, Fox- Trot - ) F469
Babs, Fox-Trot - : - j

BILLY JONES
and His Dixieland Band

The Pioneers of Swing Music
I’ve Got the Sweetest owt - >) gaz
Bluin’ the Blues - -)

PHIL GREEN ied His Orchestra

Japanese Sandman, Fox-Trot - -\ 473
Miss Annabelle Lee, Fox-Trot - -j

MAURICE WINNICK

and His Orchestra
You Started Me Dreaming, Fox-Trot )
Leave it to Love, Fox- Tree ( rom ‘ ‘Rise - F&65
and Shine ’’) . <a

VICTOR SILVESTER

and His Ballroom Orchestra

At the Close of a Long Day, Waltz - } F470
The Touch of Your Lips, Quick-Step |

JOE BUND and His Orchestra

Under the Linden Tree - - -\ gars.
Capricious Intermezzo - - -j

Write for Free List

Vill The GRAMOPHONE June 1936 Fun

‘IT WAS THRILLED "

BY THIS GIRLS WONDERFUL

VOICE..." Christopher Stone fa

IN THE ««NEWS CHRONICLE”? he
Be
TIANA LEMNITZ an
with the Berlin State Opera Orchestra Conductor : Leo Blech ‘ he
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CA8233 : AND EVEN IF CLOUDS (und ob die Wolke sie verhulle) - 4 th
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| beg of you, whoever you are, get this record by hook or by crook. Order it at once, borrow it, S
pawn your clock to pay for it; but get it, and don’t let anybody or anything dissuade you... .”’ | ‘
TIANA LEMNITZ (Soprano) VIORICA URSULEAC (Soprano) .
ERNA BERGER (Soprano) | u

with the Berlin State Opera Orchestra Conductor : Clemens Krauss
‘DER ROSENKAVALIER”’ ... one ... Richard Strauss) |2-inch C

CA8238 { (trio) (i made a vow to love him rightly) 4

( (duet) (’Tis a dream of heaven) / 2

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Xii4 to X18 (Complete in album, with booklet by Percy A. Scholes) 25/-

“FANTASIA ON A THEME BY TALLIS ” “ WALTON-SYMPHONY ”
RALPH VAUGHAN WILLIAMS, O.M. THE LONDON SYMPHONY ORCHESTRA
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June 1936

Grand Orchestre Philharmonique, Paris (Meyrowitz) :
Overture to Oberon (Weber). Columbia DX734 (12 in.,
4S.).

The first thing one listens for is the first thing—the magic horn.

The French ones seem rather mild: vibrating tone, but not much

of it. The light, rather sedate, treatment of the opening makes the

second part stand out well. These cover the invocation of the
fairies, and the triumphant return of Sir Huon (march). The
rushing semiquaver movement (24 ins.) comes from the music with
which hero and heroine are greeted early in their adventures,
before the shipwreck that Oberon contrives to test Huon further.
Before the end of the side we have the beautiful clarinet tune of
an air of Huon’s, sung when he is starting on his quest for the
heroine. As the side ends, we are in the middle of the well-known
theme from the end of ‘‘ Ocean, thou mighty monster.” Some
development follows, and about an inch on side 2 there is a new
theme (taken from Puck’s music when he orders the spirits to
wreck the ship on which Huon and Rezia are travelling). Here
a little combination of the semiquaver motive with Puck’s is good
value in working up. Then the former clarinet theme of Huon’s
comes in again, and shortly we are at the recapitulation. A solid
rather than a particularly brilliant performance and recording of
music that we can never hear without a pang of sympathy ; for
the dying man who wrote it in our midst in that sunny summer,
a hundred and ten years ago, knew that he would never look
upon his dear ones again.

Grand Symphony Orchestra : Intermezzo from 1001
Nights, and Tritsch-Tratsch Polka (J. Strauss). _Parlo-
phone R2206 (10 in., 2s. 6d.).

The Intermezzo has some of the luscious spirit of the music from
Cavalleria, which loses none of its effect in the sentimental tone of
the fiddles. ‘The orchestration is rather cloying, too. Tritsch-
Tratsch suggests dapper impudence and high jinks, and it is good
value so. In these days it would surely do us all good to be
whipped back to Johann Strauss’s Vienna. I would give a good
deal to have heard him and his band: though there is one phrase
in a description of their work which I don’t quite grasp: “‘ He
conducts in a thoroughly African way,”’ said H. Laube—alluding
to the fact that “‘ J. S.”’ had some darker blood (apparently
Spanish). I hope Laube didn’t mean the sort of Africanity that
has over-run us to-day, with crooning as the last infamy. Whiles,
taking pot-luck with the B.B.C., I come across a crooner, and feel
like taking a pot-shot. But you can’t stop crooners going to the
B.B.C. by killing them! We speak of the “* naughty nineties ” ;
a good name for the decade before, when the Strauss music was
booming, would be the “ exhilarating eighties.” We need a
fresher wind in our popular music these days. Who will turn up
to start this so desirable anti-cyclone ?

* Huberman and Vienna Philharmonic (Dobrowen): Violin
Concerto in G (K.216) (Mozart). Columbia LX494-6
(12 in., 18s.).

The G major is not so often played as the D major and the A.
It is just as good. Mozart had a “ period ”’ of violin concerto
writing in 1775; it seems to have been easy for him, in nine
months, to turn out five such works. It was almost new ground,
and he explored it pretty freely, as his great successors were to do.
There is something particularly inviting in a solo violin: think of
the glowing pictures, the depth of emotion and the heights of
sweetness, that half a dozen masters were to find in the concerto,
during the next century. The G major draws threads together
more closely, and explores emotion more truly than the earlier
ones. There is a luminous quality in the playing that I like, at
the start. Note how Mozart gives the music “‘ breathing space ” ;
that is part of his leavening. Huberman puts in some stylish
shading, and is a-tiptoe for the delicacies of bowing. The last inch
or so of side 1 touches firmer tones, in minor-key regions. The
orchestra may seem to be “ tum-tum ”’-ing most of the time, but
when you have heard the movement a few times you will realise

The GRAMOPHONE 19

how strong is its part, if unobtrusive. The movement is a good
example of the growing feeling for partnership, and its recording
gives me exceptional pleasure. Huberman grows too, I feel. You
know my sentiments about cadenzas—no need to go into that,
as the guide said at the crater of Vesuvius. There are clever
throws in this one, and one shriek that bit my ear. I think
Huberman should not have let it go by, but I know it is ill re-
recording, so near the end.

The slow movement is full of heart: it looks forward to Beet-
hoven—or rather, Beethoven and Mozart join hands in such
expressions as that which opens the movement. The slow pulsation
seems to smooth out the world’s cares. Mark how simply the
theme is kept in the air in that last inch or so of side 3. Everyone
who has ever attempted to compose knows how difficult that is.
The unity of the movement is exquisite, and I cannot praise too
highly the soloist’s sensitiveness and the band’s support. But
again, I do not find Huberman quite so true in the cadenza.
Fiddles can do these chordings, but I don’t see why they should.

Finale.—Going to be a Rondo, we think ; just the usual light-
weight (sometimes one feels that this sort of tune was really too
easy). R. Gerber, in his introduction to the miniature score
(Eulenburg), characterises the movement thus: ‘** A free mixture
of the most varied styles: a coquettish 3-8 rhythm alla Lombarda
[presumably referring to the ‘ snap’ effect, rather like the Scots
one] with a rococo Minore or romantic French origin, in well-
defined rococo limits; and a genial lyrical measure which is
obviously German in spirit. This G major Allegretto (with its
Musette effect) [he seems to find a mild drone-touch: not, I
think, very clear] may perhaps be directly related to the similarly
constructed G major episode in the final movement of the second
Concerto in D major [that is, K.218]. And perhaps, in both
instances, we may conjecture the folk-song, to which the Mozarts,
father and son, allude in their letters.’’ There is also, of course,
the instance of the Turkish outbreak in the A major (K.219)—a
bit of popular music of the day. The experimental pleasures may
seem, to our ears, very mild adventures, but set them against the
background of the time, remember the but slightly developed state
of the concerto form, and they become charming points of
departure for the bigger heart-searchers Beethoven, Brahms, and
Elgar. This was a period with Mozart when, though he was fully
grown in musicianly stature, he had not found his way to the
fullest expression either in symphony or chamber music. In 1775
both these forms were “ resting,’ and his operatic writing was
light. Hence the graces of rococo: to which Sacheverell
Sitwell suggestively points, in his little book on Mozart—
which, though written by one who does not claim to be a skilled
musician, helps us to keep all the arts in perspective, and to
enjoy all the more, through the fertilisation of one by another.

Menuhin and Orchestre de la Société des Concerts du
Conservatoire (Enesco): Violin Concerto in A minor,
Op. 53 (Dvorak). H.M.V., DB2838—41 (12 in., 24s.).

Dvorak wrote his only violin concerto in 1879-80, after Joachim
had helped him. The great player performed it for the first time
in 1882, apparently having given a few touches to the solo part.
The first movement runs into the second, and is in one of those
free-winding forms, less formal than the older strict three-section
style, that Dvorak enjoyed trying, and that nearly always come off ;
not, I think, every time. This movement is not altogether a
success.

First movement.—A Beethovenian flourish, or call-to-attention by
the band, and a bold solo theme, are repeated. The orchestra
takes up the soloist’s idea, and leads through another bit of
Beethoven (14 in.) to a new, quiet theme at mid-side 1. The

soloist strikes in, and throughout the movement muses awhile on
various elements of the themes. A longer one is at 1 in. on side 2.
There is a lot of fiddleistic working-up: Dvorak seems to have
been rather too conscious of the soloist, and to have remembered
too much of other concertos of the nineteenth century. He seems
to have felt, also, the weight of the classical concerto. There are

20 The GRAMOPHONE

passages that sound as if he were trying to be “ classical ”’ ; and
that was rarely Dvofrak’s best line. ‘The tunes and their fragmentary
treatment scarcely sustain the movement. I have heard Menuhin
in better tune, too. On the whole, not the best success, in either
structure or performance.

Adagio.—At 14 ins., a long slow tune, of the best Dvorak brand.
After it, a spell of decorative freedom. Early on the next side, the
strings (not perhaps heard at the first time of playing, beneath
the fiddle’s arabesques) have a new theme; but the soloist is
minded to cling to his first love, the dominating theme. The
trumpets sound an unexpected interruption, but it is only to
direct us back to the song-stream. ‘There is much of the Beet-
hoven concerto spirit here, with less spiritual sustenance, but more
of the expansive, extemporising simplicity that is always so genial
in Dvorak. And it is lovely stuff for the fiddle!

Finale.—Starts mid-side, with a hearty rondo theme. The
transition is just as good value, and at } in. from the side’s end
the violin sets up an accompaniment figure that leads in the oboe
with a new tune. From his ample store the soloist selects another
(start of next side). So we wend back to the first tune, bagpipe-
wise (at 1 in.). The middle section is on a D minor tune in two-
time, beginning at mid-side (horns opening the door). Its develop-
ment is rather pedestrian—Dvorak stodging, for once. Back to the
springing three-time tune in A on the last side, we make a cheerful
end in the spirit of the Slavonic Dances. It is not a work of the
first importance: too mixed in inspiration, not quite convincing
in the architecture of that first movement ; and the fiddling is not
all first rate. The orchestra’s part seems to be done with steady
competence, and there is plenty of colour, though I can imagine
a superfine recording, without any roughnesses of the strings.

Cassado and Berlin Philharmonic (Schmidt-Isserstedt) :
*Cello Concerto, Op. 104 (Dvorak). Telefunken E1893~—7
(12 in., 30s.).

Curious, and excellent, to have both Dvorak’s string concertos
in one month. The ’cello one, to my mind the better, was written
late in his American period (1894-5), not long after the New
World, the Nigger, and the Quintet, Op. 97. Dr. Hoffmeister tells
us that it was dedicated to a professor of the ’cello, Wihan, who
never played it! The first movement takes four sides and the others
three each.

First movement.—The first theme sounds serious. There is a
family likeness to a New World cast of countenance. It is a strong
one, making itself firmly felt in the movement. At 1? ins. comes the
lovely second tune (horn), one of the composer’s best ; I find a
little Southern sun in it. Then the soloist (a grand player) strikes
in with tune 1. The declamatory work is noteworthy, at the end
of side 1. On side 2 we play about a little, in Dvorak’s rather
loose way, and then Cassado has the second tune. It was born to
sing on the ’cello, After some musing, side 3 starts with an
orchestral assertion (when accompanying, the band seems rather
too modest, at times) and we are away for a romantic heart-on-
sleeve emotional spell, in which anything may happen. Mid-side,
for instance, is especially attractive in the ’cello’s dreaming with
the flute. Here there is capital partnership work between soloist
and band. Then we work up for the recapitulation, but instead
of the usual repetition of both themes, the composer admires the
second again for a while, reserving the first for his Germanic-
massive coda. The knitting, as usual with Dvorak, is not very
close, but I like the lyrical freedom, to the spirit of which the
clear, clean recording is kind.

Second movement.—One of the ever-welcome tunes, with its
affectionate little decorations, so prettily shared between soloist
and orchestra. Its spaciousness is one of the best qualities, for me.
It reminds us of an ampler day (and, a wee bit, of a Weberian
one). The orchestra opens another chamber, also richly, romantic-
ally furnished, for the soloist ; and if I mention the name of Verdi,
that is not to shout about “ influences.”’ Dvorak took any sun
that shone, and reflected its boon like the brightest mirror, but
he could do so freely because he too was a luminary: no pale

June 1936

moon he. The horn harmony at the end of side 6 is a moment to
linger affectionately upon. Side 7 is specially rich in the soloist’s
free work. ‘The first theme blesses this side. Here is the best
possible value for the lover of Dvorakian melody. Lush it may be,
but how refreshing is this cool pasture.

Finale.—A march in, the soloist entering like a conqueror, but
a genial one, bowing and smiling. Some might find a tinge of
Spanishry in the second matter, that fills the last inch of side 8.
On side 9, just after halfway, there is a pull-up (one of those too
obvious joints that Dvorak did not seem to bother about). The
succession of happy thoughts is almost all we need bother about.
The way in which we are led up and down the garden makes the
estate appear bigger than it is. It is nice to be led so clearly to the
gate, on the last side. Dvorak could be a slow leave-taker, but
nobody would grudge his kindly repeated hand-clasps and his
invitations to “‘ Be sure and come again!’’, however lengthy
soever. He reminds us, too, of the good time we had in the first
movement, by bringing in its first tune. Harmonically, I am also
reminded of the New World. Bless his leisurely soul! And buy,
with confidence, this smooth and cordial endiscing of it.

THE NEW ERIC COATES SUITE

Symphony Orchestra (Eric Coates): London Again Suite—
Oxford Street March, Langham Place Elegy and
Mayfair Valse ; and By the Tamarisk (Eric Coates).
Columbia DX736—7 (12 in., 8s.).

Palladium Orchestra (Crean) : London Again Suite—Oxford
Street March and Langham Place Elegy (Eric Coates).
H.M.V. C2841 (12 in., 4s.).

Here we have Mr. Coates’s new Suite. Oxford Street is the
successor to the inspiriting Jn Town To-night: not quite so fresh,
perhaps, but so happy a stroke as that is rarely brought off twice.
The composer’s conducting (Col.) makes this slightly crisper than
Mr. Crean’s, which, however, is in good theatre style. Langham
Place Elegy—-why “ Elegy’ ? Does it celebrate, or mourn for,
that palladium of British liberties, the B.B.C. ? Or are we to
think of red carpets and fully choral ? Maybe this is Mr. Coates’s
problem picture in the year’s musical academy.

I think his recording gets more juice out of the music than
H.M.V.’s.

The Columbia records have two additional pieces sweetly,
slickly, recorded. The waltz shows how English composers of
light music fit in the great succession. The Tamarisk is of a
popular intermezzo type. Mr. Coates is one of several writers
having the public ear and confidence who could provide good
ballad opera of the Tantivy Towers, Derby Day, kind—the only
kind of opera we shall ever take to. I wish we had more of it, but
I suppose that even that doesn’t pay. Perhaps there will be a
chance for it in another decade or two. W.R. A.

THE AMERICAN MUSIC LOVER
A Review for the Modern Home

RECORDS RADIO
Edited and Published by PETER HUGH REED

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dealing in an interesting and informative manner with

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in America.

Write for sample copy, mentioning THE GRAMOPHONE

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June

Ei

June 1936

INSTRUMENTAL

Eileen Joyce (piano) and orchestra conducted by Clarence
Raybould. Rapsodia Sinfonica (Turina). Parlophone
E11299 (one 12 in., 4s.).

Music has to encounter many obstacles in its passage from the
-ecording studio to the wax on which it is received, some definable,
others indefinable. For one reason or another music known to be
lovely may sound dull: an artist of proved quality may fail to
make any effect. Sometimes—but this is rare—a magic, which may
not even have been perceptible to those who listened to or took
part in the performance, suffuses the wax, and the result is an
outstanding record. The most remarkable instance is, of course,
Master Lough’s Hear my prayer, for the success of the record was
quite unexpected. Another instance, in this case predictable, was
the Thibaud-Casals-Cortot recording of Schubert’s B flat Trio.

To this small and select company I will now with confidence
add Miss Joyce’s latest record. A success of this kind was hinted
at in her delicious Mozart Rondo in A major (Parlophone
£11292), but here there is an even more considerable achievement
on the part of all concerned.

Turina’s music is certainly not highly original, but it is com-
pact with bewitching melodies and laid out with great skill for
the piano and string orchestra.

The piece falls into two sections, the first prefaced by a short
Introduction, which are divided by the episode for strings alone
that closes Part 1. In this first section the lyrical tune with its
rippling accompaniment, started by the soloist, is most happily
shared between piano and orchestra. The occasional introduction
of a violin solo reminds us that the orchestra is not merely
providing a background but has a definite place as a partner in
the scheme.

Some brilliant writing for the piano, in the nature of a cadenza,
is followed by a repetition of the previous melody. ‘The side closes
with an appealing and tender episode for muted strings alone.

The next side opens with a lively rhythmic tune of strong
national flavour, succeeded by the loveliest melody in the piece,
announced first by the soloist, but later—the two tunes are used
in alternation throughout this. side—given the full lyrical weight
of string tone with enchanting effect.

Miss Joyce plays the grateful piano part with a sensuous enjoy-
ment which communicates itself to the hearer, and with perfect
art. Especially delightful is the cool poise of her trills and runs on
the first side, but she is not found lacking in the more passionate
or strenuous passages. This artist has the gift which is also very
necessary to the actor, the gift of timing her effects—one which
some recording artists of greater stature do not possess.

The strings of the orchestra, too, have the sensuous shimmer
demanded by this sunlit music, and the balance between orchestra
and soloist is unusually good, thanks to the skill of the conductor.
The performance must surely be a complete realisation of the
composer’s intentions and, as I have said above, the recording as
well as the performance puts this disc in the highest class. It is
pure joy throughout.

The GRAMOPHONE 2]

Egon Petri (piano). Sonata in C minor, Op. 111 (Beethoven).
Columbia LX491-3 (three 12 in., 18s.).

The late Mr. Fuller-Maitland once said that out of the hundreds
of interpretations of this last piano Sonata of Beethoven which he
had heard when music critic of the Times, not one stood out with
sufficient distinctness and distinction to call for special mention.
As there was no great pianist of his day that he did not hear, the
statement may seem extravagant, until we realise that the only
perfect performance, at any rate of the final movement, of the
Sonata can take place in the understanding mind, which will
mentally adjust those passages which go beyond the limits of
instrument and place them in the imaginative world which knows
of no such limits.

The Sonata, with its two sharply contrasted moods—the one
dramatic, impassioned, the defiant Beethoven of history ; the other
peaceful, submissive, mystical—does indeed sum up Beethoven’s
most individual qualities.

His amazing musical development has now led him to the point
at which the “ plot ”’ is the thing and formal considerations of no
account. ‘‘A single declamatory three-bar phrase (in A flat)
repeated with ornamentation ”’ suffices him for the second subject
of the first movement because he needs just that and no more.
There is no question of ** bad proportion ”’ therefore because the
proportions are not determined by preconceived text-book rules
but by the force of the composer’s imaginative ideas. As Sir
Donald Tovey has said, the only things fundamental to the
sonata style are key system, phrase rhythm, ** both of which can
be reduced to technical analysis ; and dramatic fitness, which can
be discussed only descriptively and analogically, but which con-
stitutes the all-pervading distinction between the sonata style and
earlier non-dramatic, architectural and decorative styles which
culminated in Bach and Handel.”’

The music is analysed in a leaflet presented with the recording,
so that I shall speak mainly of the performance here.

Amongst others Busoni and Lamond have played the five last
piano sonatas at a sitting, a practice which, however wonderful
as an example of power, endurance and skill, cannot but have left
a confused impression in the minds of the hearers. The great work
in B flat, Op. 106 (the Hammerklavier) is enough to chew on for
most people at one musical meal.

Petri is under no such necessity here and we have a right to
demand of him not only power and skill but also a concentration
on the inner meaning of the music more intense than the conditions
of the concert hall can afford. This we do indeed receive. The
wonderful opening—how far Beethoven has travelled from the
slight foreshadowing of it in the so-called “ Pathetic ’’ Sonata,
also in C minor, Op. 13—1s finely done and well stood up to by
the wax. The tone-shadings in the series of chords that go from
double piano to forte are admirable, and the sweep up to the great
C minor tune, given out with tremendous force, is most exciting.
But the pace at which the Allegro is taken, though doubtless
perfectly right in the concert-hall, is sometimes too much for the
microphone, which cannot absorb the heavy vibrations of the bass
semiquaver runs, and the result is then rather blurred. This is no
fault of M. Petri’s but constitutes a problem for the recording
expert. I should prefer less tone, and therefore resonance, and a
resultant greater clarity.

The semi-fugal opening of the development section is set out
with fine breadth, but the roaring of the bass destroys the
semiquaver rests where the music goes back into C minor: and
here again one feels the need for greater clarity.

These are certainly small criticisms to set against such a fine con-
ception, carried out with the highest technical skill, of this truly
colossal movement. The theme of the six variations in the next
and final movement is of the greatest simplicity. Where the melody
for the variations in the last movement of Op. 109 has a hint of
nostalgia and the tune of the Adagio of Op. 110 an unbearable
poignancy, this Arietta breathes an ineffable peace. It is the peace
of a strong man—Beethoven’s sforzandi are not lacking in the third
variation—but of one who like St. Paul comes to know not whether

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22 The GRAMOPHONE

he is in the body or out of it. One can only feel that the fourth
variation with its ghostly hints of the theme, twice followed by a
soaring into the heights, does embody some supreme mystical
experience ; and this is the final impression gained from the
marvellous last variation, the beauty of which no words could
describe.

Magnificently played as this movement also is—and none but
a pianist of the highest intellectual and technical gifts could hope
to come near to succeeding with it—the pianist is once again
hampered by the nearness of his instrument to the microphone
which unfortunately makes the whirr of the hammers far too
audible in the rapid demisemiquavers of the fourth variation, in
which we do not want to be reminded of the percussive nature of
the instrument.

The only other criticism I have to make is that I should have
preferred the Arietta tune to have been given out with an even
greater simplicity, to have been left to speak entirely for itself.
Petri is a little heavy on some of the first beats of the bar, which
are not necessarily strong beats. Fuller-Maitland, surely, would
have acclaimed this performance as being great and memorable
even if it does not give us everything in the work. But who could
do that ?

The recording, subject to the reservations made above, is
extraordinarily good.

Borowsky (piano): Au bord d’ume source (Années de
Pélerinage, Op. 35, No. 4 (Liszt) and Malaga (Albeniz).
Decca-Polydor CA8231 (12 in., 4s.).

Freed from the necessity of considering the needs of executants

which had bound him in the composition of the twelve Etudes—
one of which, Mazeppa, was reviewed last month—Liszt turned to
the musical expression of the emotions and impressions gained
on his wanderings through Switzerland (1835-36) and Italy
(1837-40), prefacing the original edition of the first set of the
Années de Peélerinage with a statement of his aims in which he
declares that he writes for the few and not for the crowd,
‘‘ desiring not success, but the suffrage of those who conceive for
Art a destination other than that of affording a pastime during a
few idle hours.”’

He says that “ the varied aspects of Nature and of the scenes
attached thereto ” did not pass before his eyes like vain pictures
but awakened deep emotions, and that he has tried to express in
his music “‘ a few of the strongest of my sensations, of my most
vivid perceptions.”

In this piece, then, we are to look for a poetic intensification of
the idea of the Spring which the viewing of it has aroused in the
composer as well as some for representation of its exterior char-
acteristics.

Mendelssohn, for example, paints the Hebrid seas as realistically
as music permits, and is content with that ; Liszt saw deeper than
that and became the pioneer of the impressionists.

The music is cast in the form of a rondo, but the entries of the
initial tune are divided one from another not by other melodies
but by cadenzas. It is the treatment of these cadenzas that princi-
pally shows the player who has—or has not—realised Liszt’s
intentions.

I was able to compare Borowsky’s interpretation with those of
Hambourg (H.M.V.) and Solomon (Columbia). Hambourg’s
record cannot be taken seriously. He plays the cool limpid melody
of the piece as if it were a jig, sets his head at the cadenzas so that
they stand out like neon electric signs, and entirely disregards the
poetic implications of the piece.

Solomon’s interpretation is naturally of a very different order,
but even he cannot resist adding brilliance and power where they
are not required. As an example of the pitfalls that await the
player of this piece, take the long E flat arpeggio marked by the
composer double piano about the middle of the piece. Solomon,
feeling perhaps that so simple a passage needed brisking up,
imports a crescendo into it which at once puts it out of focus.

Borowsky alone finds and preserves the right poetic mood (and
therefore tempo) throughout. He makes the cadenzas grow out of
the music and not sound as if plastered on to it, his clean pedalling

June 193¢

gives full effect to the beautifully placed low notes in bars 13-14
before the end, and he alone makes the long trill in the left hand
sound like the purling stream. He uses much less tone than the
other two pianists I have mentioned, but the picture is kept
perfectly to scale.

I have left myself no space to say much of Albeniz’s bright
impression of a gay Andalusian town. If the pieces are played
immediately one after the other the transition from country sounds
to the bustle of the town makes the Albeniz piece sound superficial.
The music, like perhaps the town, is rather too crowded and busy.
It is played with the alert rhythm it requires.

I hope that this fine pupil of Scriabine’s will now give us some of
that too-neglected Russian master’s music.

Moritz Rosenthal (piano). Carneval de Vienne on Themes
by Johann Strauss (arr. Rosenthal). H.M.V. DB2836
(12 in., 6s.).

It was plain that Moritz Rosenthal’s first H.M.V. record, issued
last month, to which, as it arrived at the last minute, I could only
give a very short notice, was not at all representative of the art of
this famous pianist. I see that in an article on “‘ The Gramophone
Pianist ’’ J. F. Porte speaks highly of the records which this artist
made for Parlophone, and considers E11161 (some Chopin
Mazurkas and Etudes) essential to any good collection of piano
records.

I do not think, therefore, that Rosenthal can be microphone-
shy, and his arduous series of historical recitals has found him, at
an advanced age, well able to stay the course. The fact remains
that though there are many things to admire in this Strauss
mélange it does not seem to me to be a record by which one would
desire posterity to judge one’s playing when all memory of the
artist had passed away. ‘The end of the paraphrase of the Bat
Waltz is nothing but a scramble, and there are too many blurred
passages on this second side for one’s pleasure in the playing
not to be seriously qualified.

The opening of Part 1 is uncomfortably jerky—it sounds here
and at times elsewhere as if the needle were not gripping the
record properly—but it is :—and, in fact, it is only in the delicate
playing of the waltz following and in the neat finger work of the
quick waltz later on that we are given any true measure of this
pianist’s art.

It is only fair to say that this recording of Rosenthal’s famous
cheval de bataille will be of great interest to those who. have
attended his recitals.

Gieseking (piano): La Cathédrale Engloutie (Debussy)
Columbia LBgo (10 in., 4s.).

It was natural enough that the romantic title of this piece

should have caught the popular imagination, but the music is in

fact inferior to that of many of the other Preludes, which are too

little known and played—De pas sur la neige, for instance, one of

the most remarkable evocations of Nature in music—a lonely,
snowy landscape—that I know; or the ghostly La Terasse des
Audiences au clair de lune.

Vallas says that the magnitude of the idea of La Cathédrale
Engloutie seems to exceed the limits of the piano, and that an
orchestral arrangement—though not a successful one—was under-
taken by Henri Biisser with Debussy’s approval. Gieseking is a
pianist who gets from every note just as much and no more or less
than he requires ; and his fine control and also the rightly slow
speed he adopts—other records of the piece are twelve inchers !—
enables him to build gradually up to the magnificent climax at
which the organ playing a Gregorian melody is imitated.

The unavoidable turn-over is a sad pity, but if justice was to
be done to the music it could not have been avoided.

Vasa Prihoda (violin) and Otto Graeff (piano). Liebesleid
and Liebesfreud (Kreisler). Decca-Polydor DE7o60 (one
10 in., 2s. 6d.).

A just balance between a solo instrument and its accompani-
ment is none too common in the concert room and still less so in
the recording chamber, and so the first thing to be said about this
record is that this important adjustment has been excellently

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June 1936

made. The piano is not a mere tinkle in the background, as has
not infrequently been the case.

It is, I think, some time since Prihoda made a record, and my
feeling is that he has greatly improved as a recording artist.
(here is a vigour in his rhythm and a subtlety in his rubato which
prevents him over caressing these sensuous strains, even if he does
not endow them with all the charm that their creator gives them.
An attractive and good recording.

Marcel Moyse (flute) and Louise Moyse (piano). Le
Rossignol en amour (Couperin-Fleury) and Serenade

(Woodall). Columbia DB1645 (10 in., as. 6d.).

For the distinguished flautist who plays so finely in the Branden-
burg’,concertos, recently recorded by Columbia, which employ
his instrument, | have nothing but admiration: but I cannot
‘ike his solo recordings. He has certainly chosen one charming
piece of music, and of course plays it beautifully—the Couperin—
jut I wish he would insist upon being so placed in the recording
tudio that his breathing would be less audible and that the tone
of the instrument should be less amplified.

May I draw M. Moyse’s attention to Roussel’s Joueurs de Fliite,
Op. 27, four delightful pieces which will certainly be known to
him and of which one would be grateful to have a recording.

* The Busch-Serkin Trio: Trio in E flat major, Op. 100
(Schubert). H.M.V. DB2676—80 (five 12 in., 30s.)

The E flat Trio (Op. 100) is commonly and justly rated a good
way below its companion in B flat (Op. 99), of which we have the
unforgettable Thibaud-Casals-Cortot recording, that has not been
surpassed. The E flat work was described by Schubert as being
‘“ active, masculine, dramatic,’ in contrast to the “ passive,
feminine, lyrical ” B flat Trio: but the later work contains one
feminine characteristic carried to more than ‘‘ heavenly ” lengths
—that of garrulity. It was one of the first issues of the National
Gramophonic Society in 1925.

There is an amiability about the first tune of the first movement
which is not too promising considering the length of the movement
and a lack of the strength which characterised the fine upspringing
B flat tune in the other work. The neat little tune is not without
charm, but full compensation is found in the poignant sweetness
of the episodic third tune announced by the first violin, and taken
up by the piano. Of this—it is used for the start of the development
(Part 2)—we cannot hear too much, though one gets quickly tired
of the triplet figures that accompany it in the development
section.

On the whole, then, a weak movement disfigured by too much
chordal accompaniment for the two strings and rather undistin-
guished subject matter, except for the tune mentioned above.

The slow movement opens with a slow and sombre march-like
tune, said to be taken from a Swedish folk-song, which recalls the
slow movement of the great C major Symphony. Heard first on
the ’cello, then transferred to the piano, this tune is developed by
all three instruments to a fine and’ passionate climax. Schubert
insists too much on a tune of contrast containing a heavily
accented note which the ear grows to accept and dread but the
movement is a lovely one with much exquisite detail. Notice
how those octave drops that end it haunt the mind. They have

The GRAMOPHONE

23

~~

been heard as part of the opening tune, and this downward
progression, whether of an octave or a less interval, is a noteworthy
characteristic of the movement throughout.

The Scherzo is also a fine movement. Piano and strings play in
canon until the trio with altogether charming effect.

The last movement has been unkindly likened to a set of
lancers. A performance less perfect than this might make it
sound so! We are reminded by it that Schubert was composing
the Trio with an excellent pianist, Boeklet, in mind—for the piano
part is one of great brilliance. The length of the movement and
the too frequent reiteration of a trivial tune in four repeated note
groups should not blind (or deafen!) the hearer to the fact that
it is a truly exhilarating piece of music with one melody of pure
gold. This tune is first heard, shortly after the start of Part 2, on
the ’cello with a delightfully devised cross rhythm accompaniment
used in another connection before.

The performance of this curate’s egg of a Trio is superlatively
good from every point of view. Style, polish, nuance, unfailingly
beautiful tone, and all else, combine to produce a perfect ensemble:
and if chief honours go to Serkin it is only because of the
deliberately conceived brilliance of his part, which he plays to
perfection. Splendid recording.

* Myra Hess (piano), Jelly d’Aranyi (violin), and Gaspar
Cassado (‘cello): Trio in C major, Op. 87 (Brahms).
Columbia LX497—500 (four 12 in., 24s.).

This Trio has been overshadowed by its greater neighbour in
C minor, not yet, [ think, recorded, but has many beauties to
recommend it to those who may have passed it by. Tovey says
that the “ style of the first movement is grandly energetic with
deep shadows of mystery, the mystery of nature rather than
romance.’ There is plenty romance, however, in the lovely
second subject, most characteristic in shape, which the piano first
sings, and in the charming codetta for the strings added to it.
In the development section which begins on Part 2 notice the
Schumannesque augmentation of the opening tune on the ’cello.

The slow movement is scored with violin and ’cello two octaves.
apart, except for three bars at the end, an effect which adds to.
the “‘ heroic pathos ” of the music. The tune is the theme of a
set of five variations of which the first is overcast with the deep
shadows of mystery which Tovey speaks of above, while the fourth
variation in the major key is of a rich texture, simultaneously
combining two melodies, one for the piano, the other for the
strings, but both growing from the same stem.

I cannot better Sir Donald Tovey’s description of the next
movement—* the dark pianissimo scherzo with its huge white
cloud-bank trio.’”’ It is a grand storm piece of symphonic size,
but never straining the limits of its medium.

I am not sure that the players realise the “‘ humour and mystery”’
of the last movement, though they certainly do not take it too fast.
It is the one movement in the work which smells somewhat of the
lamp and deserves, in part, I'chaikovsky’s criticism of all Brahms’s
music—* it is all very serious, very distinguished, apparently even
original: but in spite of all this the chief thing is lacking—
beauty.”

To the true Brahmsians, amongst whom I number myself, the
verdict is incomprehensible except in regard to a few isolated
movements or passages : and the same could be said of any great
composer. The ensemble lacks many of those qualities which gave
such lustre to the Schubert Trio in E flat reviewed in this number.
Cassado’s tone, always beautiful, is consistently too heavy and
overweighs the violinist, especially when they are playing an
octave or two octaves apart, and Jelly d’Aranyi is curiously dis-
appointing. Her tone is thin and sometimes shrill—which is
certainly not the case in the concert hall. Myra Hess, who plays
splendidly all through, sounds too distant. The important question
of balance is therefore not solved satisfactorily. ‘The musicianship
of these three artists is, of course, never in question, so that there
are many lovely moments and a fine breadth in the interpreta-
tion which cannot be seriously damaged by the criticisms set out
above. The recording is admirable. A. R.

24 The GRAMOPHONE

SONGS

Richard Tauber, after his excursion into Schumann and
having put music-lovers in his debt by recording one of Liszt’s
finest songs, returns to the popular market with two ballads sung
in English. Here is a celebrity recording of Until by ‘Teschemacher
and Sandersqn, whose recent death robbed us of a fine song
writer. On the back is J hear you calling me by Harford and Marshall.
Both songs have an orchestral accompaniment conducted by
G. Walter, and the record is beautifully made. Tauber has an
astonishing mezza-voce passage at the end of the Marshall.
‘Parlophone-Odeon RO20308, 4s.).

Welcome to Percy Manchester, whom Elgar singled out as
an ideal interpreter of his songs. Latterly he has been doing
strange things including a bout with Jack Hylton when he had
to steel his nerve to sing the notorious Song of the ’Cello in desecra-
tion of a Beethoven piano sonata. Here he is in a new patriotic
ballad by Bruce Sievier and Pat Thayer called Dear England Mine.
And here let me put in a word for Mr. Sievier’s courageous
championship of the *‘ men who write the words,”’ a campaign
which resulted in the B.B.C.’s feature Words with Music. Mr.
Manchester anticipates the inevitable encore by recording some
choruses under the heading Ballads—By Request. It is an odd
assortment including Vienna, City of my Dreams, I give my heart,
Impatience (sub-titled Thine is my heart—poor Schubert) and Now
I have found you. An orchestra accompanies. (Columbia DB1642,
2s. 6d.).

There is another Quilter record from Mark Raphael. This
time we have Herrick’s To Daisies, Henley’s Song of the Blackbird
and the anonymous Weep you no more, all accompanied by the
composer, on Columbia DB1643 (2s. 6d.). I venture to call this
precious.

Peter Dawson, who made an appearance in the Miscellaneous
column last month, records another popular hit in There'll be no
South from the film The Music goes ’Round. This is by Schertzinger

who helped to build Grace Moore. On the back is an echo of

Trees in I see a tree by Hodges. I do not believe Mr. Dawson could
make a dull record if he tried. (H.M.V. B8436, 2s. 6d.).

John McCormack has two simple songs in Ever in my mind by
Macdermaid and Sanderson and Jn Sweet Content by Taylor and
Kennedy Russell on H.M.V. DA1478 (4s.). In this record he is
accompanied by Percy Kahn. Paul Robeson contributes jes’
Mah Song by Strickland and the traditional shanty Shenandoah
arranged by Sir Richard Terry on H.M.V. B8438 (2s. 6d.)
accompanied by Lawrence Brown. A newcomer is Rosina
Dixon, “* The Singing Cook ” from the Palladium show All Alight
at Oxford Circus. She sings My Dear Soul by Byron and Sanderson
and Weatherley’s Danny Boy in a pleasant contralto on Parlophone
F481 (1s. 6d.). I hope we shall hear more of her, and the same
applies to Wilfrid Thomas, whose record Songs of the Sandman is
one of the few good records for good children. The songs are
The Green-eyed Dragon by Wolseley Charles, Five Eyes by Armstrong
Gibbs (words by de la Mare), the traditional Mare and the Foal
and a hunting song called Tally-Ho! by Praydon and Leoni.
These are extraordinarily well done. (Parlophone F479, 1s. 6d.).
All these records have a piano accompaniment.

' Derek Oldham sings two film numbers on H.M.V. B8439
(2s. 6d.), respectively Whisper in your dreams from Melody of my
heart by Levinge and Friml’s Rose Marie ; both with orchestra.

Webster Booth, fresh from his triumphs in Handel’s The
Messiah, revives Herbert’s Ah! Sweet Mystery of Life, ending with
an extraordinary piece of ‘‘ white ’’ singing. The reverse contains
a reticent performance of Say that you are mine by Lockton and
Kerrich. (H.M.V. B8435, 2s. 6d.). The month’s sob comes from
Joe Petersen, “ The Boy Singer ”’ in Jf those lips could only speak
by Ridgewell and Godwin, and The old rustic bridge by the mill by
Skelly. A cinema organ accompanies with the aid of a clarinet in
the “‘ lips,’ while the bridge has the addition of a “ novelty
accompaniment.”’

There are six Columbia records by Sam Carson, four of whic!
cherish the memory of the victory of the Orangemen and th«
Battle of the Boyne. The titles are as follows: The sash my fathe)
wore and The green grassy slopes of the Boyne (FB1377); Th
Protestant Boys and Dolly’s Brae (keep this out of the Vatican
(1378); No surrender and The Orange Lily O (1379); Ulster’
Resolve (keep this out of the Free State) and The Battle of the Boyn
(1380) ; Dobbin’s Flowery Vale and Casey’s Wireless Set (1381) :

The Labour Bureau and Chips and Fish (1382). All at 1s. 6d. and ©

all the songs except the last are arranged by J. Vine, although
there can surely be nothing traditional about anything so com-
paratively recent as a wireless set, and there is nothing very Irish
about The Labour Bureau except the pronunciation of ‘‘ bureau.”
This has a droll humour and should appeal to those this side of
St. George’s Channel. The last song, by Darewski and Austin, is
blatantly Lancashire. The recording is above the average.

RoGER WIMBUSH.

BAND RECORDS

For the first time since I can remember the holder of the
Crystal Palace Championship Cup is a band that I have never
heard in the flesh. Judging from their new record Munn and

Felton’s Works Band is a worthy successor to the long line of

famous bands who from time to time have held this high honour.

On Regal-Zonophone MR2o03%8 the band plays the exciting parts of

the William Tell Overture. That is to say, the Storm and the Finale.
In its comparatively “‘ light-weight ’’ way this is a superlative
performance and is excellently recorded.

If the former band is a comparative “ light-weight ’’ Foden’s
Motor Works Band is one of the “ heavy-weights ’’—in fact
it is the best of the ** heavy-weights.”’ One is tempted to wonder
what would have happened if this band had been a competitor
at Crystal Palace last September, for it must be remembered that
as winners in three successive years they were ineligible to compete
last year.

This is idle speculation, however. It is more to the point to
say that Regal-Zonophone MR2057 contains a splendid per-
formance (equally splendidly recorded) of Poet and Peasant
Overture. A special word of praise is due to Arthur Webb for his
sensitive playing of the tenor horn solo. W. A. C,

HAVE YOU ORDERED YOUR COPY
OF THE

INDEX TO VOL. XIII?

PRICE TWO SHILLINGS

if ordered before Ist July

THE GRAMOPHONE, 10a, SOHO SQUARE, W.|

June 1936

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OPERATIC AND FOREIGN SONGS

kirsten Flagstad (soprano) with orchestra under Hans Lange:
(a) Elisabeth’s Gebet (Elizabeth’s prayer) from Tann-
hauser (Wagner), sung in German; H.M.V. DB2747
(12 in., 6s.). (6) Dich teure Halle (Oh hall of song) from
Tannhauser (Wagner) and Elsa’s Traum (Elsa’s dream)
from Lohengrin (Wagner), sung in German; H.M.V.
DB2748 (12 in., 6s.).
Kirsten Flagstad’s debut at Covent Garden was an unqualified
iccess. From these recordings and those issued last month it is
yundantly clear that she uses an exceptionally lovely voice like
first-rate artist. She sings with no apparent effort and the
aality is evenly beautiful from the highest note to the lowest.
et it is perhaps a debatable point whether such a majestic voice
; the ideal medium for the portrayal of the heroines of Wagner’s
Lohengrin and Tannhduser, especially the former. It is hardly to
e expected that the singer should have anything new to convey
o us (save the unique beauty of her tone) in the two familiar
xcerpts Elsa’s dream (Einsam in triiben Tagen) and Elisabeth’s
reeting to the hall of song. The latter could have been phrased with
sreater elegance, particularly in the opening lines; it must
iowever be affirmed that both arias display a fine sense of style
ind suggest that we are listening to an admirable Elsa or Elisabeth.
Her ability in the latter réle is confirmed by the magnificent
singing of Elisabeth’s prayer (Allmacht’ge Jungfrau, hér’ mein
Flehen) ; this, in its flawless beauty, must surely stand alone, a
erfect performance for future Elisabeths to strive to emulate.
The orchestra under Herr Lange plays splendidly, and the
recording is excellent. Both records can be thoroughly recom-
nended, with a special commendation for DB2747.

Miliza Korjus (soprano) with Berlin State Opera Orchestra
under Bruno Seidler-Winkler: Oriental Prayer and
Bell Song, both from Lakmé (Delibes) ; sung in Italian,
the former with chorus. H.M.V. C2839 (12 in., 4s.).

The Oriental prayer occurs quite early in the first scene of
Velibes’ opera Lakmé. This recording has given me a good deal
{ pleasure ; it seems to me the best singing that Miliza Korjus
nas given us since she sang Proch’s Air and Variations. ‘The music
is simple, light and pleasant, it suits the singer’s voice, and it is
sung with hardly a flaw. I cannot recall any previous recording ;
this one is charming.

The Bell Song cannot be so highly praised. It is nicely sung,
though the performance is by no means exceptional ; and it is
badly ‘* cut.’”? The song tells a story, the legend of the pariah’s
daughter who saved the life of Brahma’s son; to record it on
one side of a twelve inch record a “*‘ cut” is unavoidable, and one
can be made that is permissible because it does not spoil the
music or the story. It means, however, sacrificing the introductory
vocal phrases, which have no words and only serve, in the opera,
to gather together an audience for the singer. Here, the intro-
duction is included, and so not only has it been necessary to make
the conventional omission, but it has also necessitated lopping off
the end of the story as well. As it stands, it should be ** continued
in our next.” I suspect, though, that many enjoy listening to the

The GRAMOPHONE 25

Bell Song for the sake of a pretty voice and tune, and do not bother
unduly about the words—in which case the present recording will
not come amiss.

*Elisabeth Schumann (soprano) with piano accompaniment by
George Reeves: Wiegenlied, Op. 49, No. 4; Verge-
bliches Standchen, Op. 84, No. 4; Nachtigall, Op. 97,
No. 1; and Der Jager, Op. 95, No. 4 (Brahms), sung in
German. H.M.V. DA1417 (10 in., 4s.).

Elisabeth Schumann has returned once more to Lieder. ThiS
should be welcome news. Even those who may feel with me that
Der Jager is a poor poem to set to music will probably admit that
four songs by Brahms, stylishly sung and admirably recorded, are
good value for money at a shilling a song. Perhaps Nachtigall
provides the choicest singing. The familiar Wiegenlied (Guten
Abend, gut’ Nacht) is taken at a rather quicker pace than usual,
but comes to no harm. Vergebliches Stdndchen is good fun for all,
except the disappointed swain; the maiden who so con-
scientiously follows her mother’s advice evidently has a sense of
humour, and one can almost see the smile on her face as she closes
the window and turns away. The singer’s voice has all its customary
charm but the diction is not always as good as it might be. George
Reeves at the piano is an able colleague.

Meta Seinemeyer (soprano) with Berlin State Opera House
Orchestra under Dr. Weissmann : Hier ist der grauen-
volle Ort and Wenn das Kraut (Amelia’s aria) from Act II
of Un ballo in Maschera (Verdi); sung in German.
Parlophone E11300 (12 in., 4s.).

The second Act of Verdi’s Ballo in Maschera opens with an
orchestral prelude. Amelia enters and begins by singing the
recitative Ecco l’orrido campo (Hier ist der grauenvolle Ort). She
follows this with the aria Ma dall’ arido stelo divulsa (Wenn das
Kraut). A clock strikes midnight. ‘Thinking she sees a ghost,
Amelia is terrified and reverts to recitative. Finally, she sings a
prayer to God for help. All of this, including the prelude, is
recorded on the present disc, which could with advantage have
been more clearly labelled.

Two or three years ago there appeared a superb record of the
aria Ma dall’ arido stelo divulsa by Rethberg. ‘The present recording
is therefore rather late in appearing, seeing that its gifted singer,
Meta Seinemeyer, died nearly seven years ago. The music is well
worth knowing: it illustrates Verdi’s skill in wedding drama to
melody. The singing reveals a beautiful voice and genuine
dramatic ability.

The concluding passage (from Mitternacht! onwards) is not sung
with quite the same freedom as the rest ; and the Italian text
would have been preferable to the German, though the latter fits
the music well. Apart from these minor points I have only praise
for the record, which I cordially recommend. Even those who
have the Rethberg version may like to have this one as well, both
for its excellence and its completeness. Hardly a record of this
aria fails to provide the customary comedy of the striking clock,
and the present one is no exception. Just try to imagine (outside
opera) an inhabitant of Boston, Mass., remarking “‘ Midnight ”
on hearing the clock strike four.

Lotte Lehmann (soprano) with organ accompaniment.—
Ach, bleib’ mit Deiner Gnade and Aus tiefer Not (When
in deepest need) ; sung in German. Parlophone-Odeon
RO20309 (10 in., 4s.).

These two simple chorals are unfamiliar to me and, so far as
the record labels are concerned, they are anonymous. ‘They are
sung with becoming reverence by Lotte Lehmann, whose voice
sounds as beautiful as ever ; but why they are in her repertoire
and why they should be expected to appeal to her admirers in
this country are questions I cannot answer. The record should
find favour with anyone who appreciates church hymns sung
solo, for the singing is lovely and the recording is excellent.

26 — The GRAMOPHONE

Koloman von Pataky (tenor) with orchestra: Sei mir
gegriisst, du holdes Venetia from A Night in Venice
(J. Strauss) and Trinke, Liebchen, trinke schnell from
Die Fledermaus (J. Strauss); sung in German. Parlo-
phone R2205 (10 in., 2s. 6d.).

So far as the music goes, this is a fifty-fifty record ; Alfred’s
drinking song from Die Fledermaus is good, jolly Johann; the
greeting to Venice is dull, serious Strauss. Judged by these
recordings Koloman von Pataky is a very ordinary singer, which
is a great pity because he has an attractive high tenor voice. If
only he would improve upon his present style it should be a
real pleasure to listen to him.

Beniamino Gigli (tenor) with members of La Scala Orchestra
under Franco Ghione: Mattinata (Leoncavallo), sung in
Italian; also, with the Orchestra under Dino Olivieri,
Torna a Surriento (Ernesto de Curtis), sung in Neapolitan.
H.M.V. DA1454 (10 in., 4s.).

It would appear that the singer of the morning serenade loves
with real southern fervour, and in his peroration is concerned more
with proclaiming his lady’s radiance than polishing his phrases.
Gigli is in excellent voice, and those who like a passionate serenader
should enjoy this Mattinata.

The mood of Torna a Surriento is sad, and here it is sadder than
I have ever known it to be; while the prevailing timbre of the
voice is unusual and “‘ made to match.”’ The tempo is on the slow
side and the refrain Ma nun me lassad, nun darme stu turmiento ; torna

SECOND

Fune 1936

a Surriento, famme campa has had to be omitted at the end of the
first verse, though it follows verse two, of course. On the whole,
I think this is a good, sound rendering of the song; but I am
doubtful of its becoming a popular one.

Herbert E. Groh (tenor) with orchestra.—_Im chambre
séparée from The opera ball (Heuberger—Leon—Waldberz)
and Lieb’ mich und die Welt ist mein (Love me and the
world is mine) (Ball—Riihle) ; sung in German. Parlophone
R2204 (10 in., 2s. 6d.).

Heuberger’s Der Opernball is Viennese operetta. We have had
broadcasts and records of its overture and the pretty little triile
in waltz time known here as Midnight bells, which even Kreisler
has recorded. A sprinkling of French phrases in Viennese texts
(e.g., Fledermaus) is not uncommon and there is no mistake in the
announcement of Jm chambre séparée being sung in German, though
appearances are two to one against it. The song will presumab y
sell for its melody: it is Midnight bells in vocal form. There is a
soupcon of naughtiness in Gehen wir ins chambre séparée, ach, zu dem
stissen téte-d-téte. Herr Groh sings it like a worthy disciple of He ‘r
Tauber, and those who have a penchant for operetta may find it
easy to fall for him. How they (or anyone else) will react towar«\s
him for disinterring the old music-hall ballad Love me and tie
world is mine I do not profess to know ; it strikes me as being a
distinctly unfriendly act. Fortunately for my peace of mind
Herr Groh sings and does not drawl it, but his theatrical climax
is quite unnecessary. HF. V.L.

REVIEWS

THREE STRAUSS TONE POEMS

DEATH AND TRANSFIGURATION
H.M.V. DB2324-6. Philadelphia (Stokowski).
Parlophone E11243-5. Berlin Grand Symphony (Weissmann).

In case anyone may be using a 1925 H.M.V. list, I may say
that D1525-7 has been withdrawn (the Coates L.S.O.). Though
Dr. Weissmann’s work is good value for the money, the Phila-
delphia affords a high enrichment of the tone, in the delicacy of
its wood-wind choir (which, I think, after hearing it several times
at first ear, has never been quite fully conveyed by any record),
and in the weight and glow of its bass tone—in such a place, for
instance, as that near the end of side 2, where the rising arpeggio
figure that dominates the music has a size and an enveloping
quality that the other recording, though good, does not attain.
Both recordings are recent—1933 and 1934, so there is a resource
for both types of people—those who want something good, as
cheaply as possible, and those who must and will have “ the best ”’
(when that elusive quality can—as I admit it sometimes can be
pinned down ; though not nearly so often as-many folk imagine.
It becomes more difficult to do that, the more processes and minds
intervene between us and the music. And anyone who aspires to
be even moderately philosophical about the queer business of
criticism does well, I think, to bear in mind the principle which
Mr. Calvocoressi, that thoughtful and modest guide, has thus
worded : “ The reasons that a critic gives are good, in the last
resort, only for people who, by virtue of their nature, are prepared
to feel as he feels.”’ Like most of the wisest summings-up, it
sounds self-evident ; but how often we forget it !)

TILL EULENSPIEGEL
Columbia 9375-6. Brussels Royal Conservatoire (Defauw).
Decca-Polydor CA8053-4. Berlin Philharmonic (Furt-
wangler).

Parlophone E10925-6. Berlin State Opera (Kiemperer).
H.M.V. DB2187-8. B.B.C. (F. Busch).

The set that comes nearest to my ideal, tonally, is the H.M.V. ;
but there seems to be a tiny “‘ bone ”’ in Busch that keeps him out

of the charmed circle of exquisite Tillity. He is so near it, but
never quite one of the tip-toe dancers in this delicious masquerade :
he doesn’t quite let himself go ; but these are really good records,
at top price. The others are all cheaper. Defauw is inclined to
deliberation. His tone is in general rounder than the Decca,
which, though forward and full, is rather staring. Parlophone is
good value in briskness, but the tone is a little tubby. The
Epilogue is one of the best tests. Here Defauw hurries ; the Decca
tone is slightly muzzy, where we need the daintiest, most affec-
tionate clarity. Parlophone pleases best. It is a good, dependable
alternative, at a cheaper price, to the H.M.V., and probably
there are not many people, except those who know the score
intimately and seek special refinements, who would not find i:
quite satisfying.

DON JUAN
Decca-Polydor CA8126~—7. Berlin State Opera (Strauss).
Parlophone E11051-2. Berlin State Opera (Klemperer).
H.M.V. D1309-10. Symphony Orchestra (Coates).
Columbia L2067-8. Royal Philharmonic (Walter).

There is always special point in having an edition “ signed by
the author.”’” With the usual reservation as to the recording
chamber, this red-hot recording may be recommended as likely
to give the most vigorous and exciting idea of one aspect of the
Don’s nature. Parlophone has a better chamber, and is slightly
milder, though quite adequate. H.M.V. (1928) cannot stand up
to later recording, and the similar small-scale Columbia weakness
has to be marked ; but there is splendid grip in Walter’s perform-
ance, the real-love episode being touched with fine poetry. Either
of these two is excellent value. So were the others, in their day. We
are accustomed to think of Strauss as a somewhat weary, perhaps
disillusioned composer (these qualities may not stand anything like
so well for the man, of course). It is perhaps not fanciful to find
him reading particularly sympathetically the idea of Juan’s

-pessimism. The music is full of beauty, of passion in futility.

Don Juan might be reckoned a great piece of moral teaching, too.
W.R.A.

June

> 1936

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June 1936

The GRAMOPHONE 27

MISCELLANEOUS

Medleys

Surely there never were so many Medleys in any one month
before! I am encompassed round about with fifteen of them at
this moment, ranging from a fantastically noisy “* fantasy of sleep ”’
to a Brazilian Medley by a rumba band.

I think it must be that the portable season is now in full swing
and the great idea is to get as many tunes into as small a space as
possible.

So if you have a portable and want to hear about one hundred
and fifty tunes in an hour, this is the paragraph for you to study.
Read on.

Firstly this Fantasy of Sleep—I1 beg your pardon, Fantasie. What
can have been the idea behind this ? Is it meant to induce sleep ?
Listen to it (Columbia DX735) and you will see immediately you
are wrong. Perhaps it was to show off the undoubtedly lovely
voices of Garda Hall and John McKenna. It certainly succeeds
in doing that, although you will find it extremely difficult to hear
one word of any of what they sing. Maybe it was just the simple,
straightforward idea of collecting together all the songs one knows
about sleep, dreams, piccaninnies and cradles. But the Finale is

Let’s turn to something simpler. John Hendrik sings some old

favourites of the last few years on Parlophone R2208 with a charm
that makes things like My Blue Heaven sound better than they are
vhile, strangely enough, Marie Burke, usually an artist of
unimpeachable quality, adds little to the innate charm of Noel
Coward’s more sentimental songs in The Romantic Noel Coward
Columbia FB1385). The idea of proving to the world that Mr.
Coward is at heart a romantic because he has told a friend that
these are his favourite songs is a commendable one, that is, if you
were ever in any doubt as to the tender heart that beats beneath
that wittily satirical veneer. But somehow there is an artificiality
about Miss Burke’s interpretation of these songs that is unsuited
to their simplicity. Anyhow Marie Burke not quite in the mood
is better than most others at their best.

Another record which has the essential quality of the composer
missing is H.M.V. BD350—Anton and The Paramount
Theatre Orchestra with R d Foort at the organ. They
are playing some of Ray Noble’s best-known tunes, and never
really capture the characteristic unobtrusiveness of Ray’s melodies

—his is a talent for gentle, restrainedly sentimental songs which
miss all their point when blared forth by a large, jazzy orchestra.

Irving Berlin, on the other hand, has a much larger range of
colour on his palette, and although All Alone, Always and What’ll
/ do are in slightly melancholy mood, the Coventry Hippodrome
Orchestra under Charles Shadwell (Regal-Zonophone
MR2089) make them into an Irving Berlin Waltz Medley which
never seems incongruous. The other side of this record has a
Selection of Viennese tunes called Welcome Vienna which is exactly
what it should be—lilting and gay and conventional.

Rawicz and Landauer, bright boys of the piano world, also
go to Vienna for inspiration—and to Budapest for that matter,
and call the arrangement Austria-Hungary (Columbia FB1389).
You will notice that both the Budapest side of this record and
Albert Sandler’s Listen to Liszt open with Liszt’s Hungarian
Fantasia. The Sandler (Columbia FB1386) is yet another example
of the polished playing of the violinist and his orchestra, but it is
not unusually noteworthy.

I found From the Welsh Hills dull and tuneless, but no doubt the
Orchestre Raymonde (Columbia DB1644) will give a lot of
pleasure to the thousands of Welshmen to whom these airs are
familiar. In the same way North Country folk will be delighted
to have a whole batch of George Formby’s songs (Regal-Zono
MR2083) for one shilling. Personally I prefer the tasteful playing
of Mantovani and His Tipica Orchestra in a Tango Medley
(Columbia FB1393) or of Charlie Kunz or Len Green in their
latest Medleys (Rex 8783, Decca F5956) or even more of Ivor

Moreton and Dave Kaye in a Waltz Medley—again favourites of
the last decade (Parlophone F466).

This revival of oldish tunes seems to be the fashion with the
pianists, for Jack Wilson and Jimmy Leach do the same thing
in Hit Memories Medley (Regal-Zono MR2090), while a Cuban
Marimba Band (Regal-Zono MR2095) play waltzes of the same
period in Marimba-Land. An odd, tinkly little disc this, and you
will find Ciro Rimac’s Rumbaland Muchachos much more
invigorating in the aforementioned Brazilian Medley called
Maxixe-Carioca and a Son, strangely entitled Yo me ba (Columbia
FB1392).

Free and Easy

Last month Barnabas von Geczy and His Orchestra played
two very gay little pieces on H.M.V. B8434 called Free and Easy
and Gipsy Wine. Of their kind they were good but hardly worth
half a crown compared with some of the things one can buy
nowadays for one shilling or one and six. But these jingles were
typical of a class of record that a good many people like and are
willing to pay a little more for than for a really good dance record.

Into this class come such light and unimportant fantasies as
Capricious Intermezzo and Under the Linden Tree played by Joe Bund
and His Orchestra (Parlophone F475), and Sunny Days and
Puszta by Eric Harden and His Dance Orchestra (Parlophone
F474).

Rather different is Columbia FB1384—The Music-Makers,
from the B.B.C. Dance Orchestra, in Joe Venuti’s Apple Blossom
and Zez Confrey’s Buffoon. It is not “‘ hot” or “ swing ”’ music,
nor ordinary dance music, nor just light orchestral pieces—it
combines something of all three. And don’t think that in com-
bining all these elements that it fails to please the devotees of any
section of this light music. Far from it. This is not a record to be
bought “* blind,”’ but if you can, try and hear it: you may be as
charmed by it as I was.

The Teddy Bear’s Picnic is an evergreen, and H.M.V. have
nicely timed its latest appearance played by Alfredo Campoli
and His Orchestra coupled with Mouse in the Clock (BD348).

Rather surprisingly Sydney Kyte and His Piccadilly Hotel
Band play Gung’l’s Amoretten Tanse and Léhar’s Gold and Silver
Waltz with a real Viennese lilt (Decca F5957), and this, together
with the Orchestra Mascotte in Morgenblaitter and Miinchner
Kindl (Parlophone R2209), make as good a pair of old-fashioned
whirling waltzes as you could find.

For another record that is out of the ordinary listen to Mario
“ Harp ” Lorenzi and His Rhythmics in Celebratin’ and The
Whistling Waltz (Columbia FB1406) with, I think, Marjorie
Stedeford in charge of the singing—but not the whistling, I take it.

Bright and Breezy

Now for a few records that cannot fail to cheer you up, even
if it does rain just as you’ve got the girl, the punt, and the portable.
Leslie Holmes of the incredibly infectious smile is bound to
make you see the silver-lining in What d’ye think of that, Boys ? and
Wake up and Sing (Regal-Zono MR2091), while Len Bermon
also wants to know what you think of his luck as well as telling
you that When somebody thinks you’re wonderful love is mighty close
to you (Parlophone F477).

Leslie Sarony is happy enough in Where there’s you there’s me
and The Feller that played the Pianner (Regal-Zono MR2092) while
The Rocky Mountaineers always seem to be having a gay party
whenever one hears them at it on their records (Columbia
FBr1390).

On Decca F5951 you will find that old ditty of some three or
four years ago which Henry Hall has revived lately, J laughed so
hard I nearly died done by the Rex Cole Mountaineers. It’s
backed with an amusing hill-billy called She’s too good for me by
the same composers.

28

Still Following the Fleet

Turner Layton, Larry Adler, and an organist named Henry
Croudson who is new to me, all give selections from ‘“ Follow
the Fleet ’’ on Columbia FBi402, Rex 8784, and Regal-Zono
MR2094 respectively. Personally I’m getting a bit too tired of
the tunes to want more than one at a time, but I daresay some

people will be glad to get them all in a bunch.

Film Stars

It is grand to get a record from Maurice Chevalier again
after so long and to hear him explaining in that devastatingly

attractive way of his just what his song You look so sweet, Madame

is all about. I have not yet seen his film *“* The Beloved Vagabond ”’
which he has been making over here, but from this and Tzsinga-

doodle-day it sounds as though the Chevalier of ‘* Innocents of

Paris ’’ may be with us again (H.M.V. B8440). I hope so.

Alice Faye, blonde lovely who finally gets her man in “‘ King
of Burlesque ”’ in spite of the high-society dame menace, sings
her four songs from the film on Rex 8778 and g. They are I’m
shooting high, I love to ride the Horses, Spreadin’ Rhythm around and
I’ve got my fingers crossed. All of them are good, but I think the
last title is the best.

Ginger Rogers records Let yourself go and I’m _ putting
all my eggs in one basket (Decca F5 963),
and while they will satisfy the fans, I
couldn’t help wishing she’d been able
to record that delicious hiccoughing
scene from the film—what a riot it could
have been !

The Glory of Love

If we are to believe the crooners of the
day, to experience the real glory of love you
must lose a little, weep a little, and have the
blues a little as well as feel curiously elated.
It would seem that there is no joy without
pain. Ah well, I’m sure they know best.
Anyhow, Hildegarde is very convincing
about it on Columbia FB1401 with Carroll
Gibbons and His Boy Friends. Here
The Glory of Love is appropriately coupled
with The Touch of your Lips with a charming
suggestion of The Very Thought of You. This
is easily one of the best records of the month
—the combination is one that almost defies
competition.

Bing Crosby’s record of The Touch of
your Lips and Lovely Lady which came out last month, I found
disappointing (Brunswick 02179), but Evie Hayes sings the former
beautifully on H.M.V. BD349 coupled with a good contrast
in Let Yourself Go.

Sam Browne gets better and better, but I still prefer him alone
in Please Believe Me than in I’m shooting high with The Rhythm
Sisters (H.M.V. BD347).

Lost is a tune that is very popular just now in the United States,
so we can expect to be deluged with records of it. Ruth Etting
sings it on Brunswick 02218 coupled with Jt’s been so Long—or
lawng: but although she extracts every ounce of sweetness there
is to be had out of both songs, I did not enjoy either side overmuch.

It was inevitable that Greta Keller should record Gloomy
Sunday if she could be lured to the Decca studios during one of
her brief visits to England. Here it is, then, on Decca F5966 with
Fred Hartley and His Quintet playing the appropriately
dirgy noises in the background. I hope his marriage will
turn his thoughts to happier themes. Let it be Me appealed
to me as being most pleasingly sung, and I could have wished
this had been coupled with Alone—see ‘* Missing the Mark ”’
paragraph.

Les Allen and His Canadian Bachelors cater adequately
and efficiently for their admirers with J’m all alone and Little

The GRAMOPHONE

Evie Hayes

June 1936

Piccaninny Mine (Columbia FB1388), and Turner Layton tells
you all about A little Rendezvous in Honolulu and that he is Hypnoti~ed
on FBr1403.

The Vagabond Lover, who made his record debut on H.M.V,
a few months ago, now turns up again on Decca F5954 singing
The Star and the Rose and Venetian Moon, and that vital young
American singer Carolyn Marsh puts just the right touch of
sex-appeal into Sidney Torch’s record of Alone and Goody-Goody
(Columbia FB1383).

Winners or Also-Rans ?

Here are two records about which I have been quite unable to
make up my mind. They are Dipsomania and Mood Ruby played
by Len Fillis on a Spanish “ Electric ’’ guitar (the quotes are
Columbia’s, not mine), and Tony Lowry playing Snow Fairies
and Japanese Lanterns. Now both these records are of compositions
played by the composers, so evidently this is the correct interpre-
tation of all four tunes—but tunes, that is the rub ; they are none of
them tunes. They all have a lovely clear quality, like the pure
freshness of a mountain stream, but they also have the monotony
of the mountain stream’s music. I believe that if a friend were ‘o
play these records on your gramophone while you were reading
or talking, you would hardly notice them. And yet if you
deliberately listen to them, they have a
quality that stamps them as “ different ’
—a virtue in these days of mass pro-
duction of everything from a moter car to
a Beethoven sonata.

See what you think.

Bella Argentina

Two tangos which should be heard are
Mendoza and Rosita played by the con-
tinental Oskar Joost Tango Orchestra
and called “‘ Argentine’”’ tangos (Decca
F5964) ; and on Parlophone Odeon OT 140
you can get the genuine article, da
Carcajada, played by the Orquesta Tipica
Roberto Firpo, coupled with a Pasodoble,
Bella Espatiola.

Missing the Mark

In this section I am going to grou;
together a few records which from one
reason or another fail to come up t
standard — either the high ° standard
previously set up by the artist himself,
or my quite arbitrary one.

First on the list is Leslie Hutchinson who lets himself.
and me, down badly by recording a song called Dream Tim:
which has the tritest lyric I have heard for months. Anc
Tormented doesn’t make up for the let-down of “ Dream time.
Dreamy dream time ”’ and “ Night time, nighty night time ”’ |
Oh, no. (Parlophone F467).

Then there is Greta Keller in The Touch of your Lips (Decca
F'5965). Now that sounds as though it ought to be a good com-
bination, doesn’t it ? Greta Keller and Ray Noble’s The Touc/:
of your Lips ? And yet it isn’t. The rather unusual harmonies o!
this song seem to have completely upset Miss Keller, even to the
extent of putting her off the note on more than one occasion. This,
surely, is a case of either having chosen the wrong “ mother ”’
from which to take pressings, or else of leaving a job incomplete.
A pity, especially as Alone is very good.

Next comes a record that is harder to criticise. On Parlophone
F480 Michael Carr sings his two songs He was a Gentleman’s
gentleman and Lady from Mayfair. These are difficult to criticise
because I find myself quite unable to take them seriously, and I
feel that unless Michael Carr is an inordinately clever leg-puller,
he means me to. That he has a tiny voice is of no account—lots
of microphone stars have less; that he stresses his points too
inartistically matters very little really ; but that I should be

june 19:

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June 1936

expected to be moved, except to mirth, by these novelettish stories
is more than I can bear. I was just as much at sea over Dinner
for one, Please James: but it was popular, and if Michael Carr
can judge popular taste so undeniably well—good luck to him.
and Allen are a simpler story. In Ye B.B.C.
(Columbia FB1407) they have neither the material nor the right
medium for being funny.

Bob Mallin and Benny Fields are vocalists whose names are
new to me, and while, if Saddle your Blues to a Wild Mustang by
Mallin on Decca F5969 is a first effort, it is highly commendable,
the mournfulness of Knick Knacks on the Mantel almost takes away
the good marks earned on the backing.

This is the close season in the dance music world and the chief
source of inspiration at the moment would appear to be the new
Drury Lane play “ Rise ’n Shine.” The title song is a good tune
that goes with plenty of swing, and Roy Fox and His Orchestra
(H.M.V. BD5069) and Carroll Gibbons and the Savoy Hotel
Orpheans (Columbia FB1399) both play it extremely well.
The Orpheans’ record has Leave it to Love, also from the play, on
the other side, and the Roy Fox coupling is /t’s been so long—quite
a good number, but not an obvious hit.

Maurice Winnick and His Orchestra also make a nice job
of Leave it to Love on Parlophone F465, coupled with You started
me dreaming.

Roy Fox and His Orchestra.

The Glory of Love and He was a Gentleman’s gentleman (H.M.V.
BD5070). The Glory of Love is the tune of the month, and this is
about the best recording of it, despite some close runners up.
The Michael Carr epic is treated by Denny Dennis and the Band
with due solemnity.

Billy Cotton and His Band.

The Glory of Love and You started me Dreaming (Regal-Zono
MRatoo). Nicely played with clever suggestion of Love is the
Sweetest Thing introduced for additional interest. Coupling is
tasteful, too.

B.B.C. Dance Orchestra.

The Glory of Love and Somewhere at Sea (Columbia FB1409).
Here we have the glory of love coupled with the glory of Henry
Hall writing a special signature tune for the ‘“* Queen Mary.”
Somewhere at Sea seems a little vague for a ship that is crossing the
Atlantic in such a blaze of publicity. Still, there is a special label
for the occasion that will gladden some hearts.

Guy Lombardo and His Royal Canadians.

Lost and There is no Greater Love (H.M.V. BD5071). Lost is
the tune to watch if American tastes are anything to go by, so
here is an American recording for you to judge what the “ rave ”
is about. This is the sort of thing that America’s number one
popularity band does to perfection.

Carroll Gibbons and the Savoy Hotel Orpheans.

Lost and The Juba, rumba (Columbia FB1408). Another
version of Lost that you ought to hear, and the Orpheans know
how to put across a lively rumba !

Stuff Smith and His Onyx Club Boys.

I’se a Muggin’ (Brunswick 02182). MHere’s the original
rendering of this crazy idea of “‘ ughs ” and “ woofs.”” On one
side you get the tune and on the other the crazy counting.
You may think it’s grand fun or you may think the Americans are
even madder than you thought they were.

The GRAMOPHONE

29

Benny Fields sings Lost and Welcome, Stranger (Brunswick 02193)
so slowly that one loses all interest. Speed it up a bit and it’s not
bad.

P.S.—Palotti, Schimmelfpfennig

Here are two organ records that are worth hearing—Marcel
Palotti in Musica Proibita and Rossini’s La Danza (Parlophone
F476) and Herr Horst Schimmelfpfennig playing Under the
Starlit Sky and Little Village Green (Decca F5929). If you are
worried about the name, write it down and hand it to your dealer
—he probably can’t pronounce it either. M. E. C,

DANCE RECORDS

The Teagarden Boys and Trumbauer Swing Band.

I’se a Muggin’ (H.M.V. BD5063). Here it is again with the
famous Teagarden brothers of Paul Whiteman’s band leading the
fun. Actually this is more amusing than the * Stuff’? Smith one
because of the brilliance of the musicians. But what they do
perpetrate for their “ art”!

Bob Crosby and His Orchestra.

Christopher Columbus and What’s name of that Song? (Decca
F5962). Another crazy tune is this Christopher Columbus, but here
it is just played with plenty of ** swing ” and no vocal chorus, and
as such is a good dance record.

Geraldo and His Orchestra.

Celebratin? and The Whistling Waltz (Decca F5955). This
band can do anything from formal dinner music to this hectic
celebratin’. The Whistling Waltz is from the Arthur Tracy—Anna
Neagle film ‘‘ Limelight”? in which Geraldo and the Band
appeared.

Harry Roy and His Orchestra.

Dill Pickles and Goombay Rumba Drums (Parlophone F460).
The rag boys off on a wild chase here, and for sheer speed they
are untouchable.

The Krakajax.

*Taint Nobody’s Business and Babs (Parlophone F469). This
band grows in popularity every month—and deservedly. ‘The
first tune is excellently presented with a delightful vocal chorus.

Paul Whiteman and His Orchestra.

Ol’? Man River and Make Believe (H.M.V. BD5066). With a
new film of ‘‘ Show Boat ” on the way we get a jazzed-up version
of these two famous Hammerstein and Kern melodies. Sounded
rather like new wine in old bottles to me.

Joe Loss and His Orchestra.
Spread it Abroad and You started me dreaming (H.M.V. BD5064).

Another band that improves by leaps and bounds. This is a really
good record.

Jack Hylton’s Orchestra.

He went in like a Lion and When H’I was H’out in H’India
(H.M.V. BD5055). Comedy numbers, the first of which is funnier
than the second; the Welsh and North Country choruses of
He went in like a Lion are very amusing.

Billy Cotton and His Band.

Counting Crotchets in my Sleep and Everybody Kiss your Partner
(Regal-Zono MRa1o1). The band boy’s nightmare and a new
parlour game—or at any rate private dance game. Both brightly
played. M. E. C.

The GRAMOPHONE

June 1936 é

June J

Introducing Agnes (!)

EVIEW
records have
a habit of

arriving so near to
the moment I am»
due to close for
press that for some
time I have been
finding it increas-
ingly difficult to
deal with the many
I have to mention
each month in the
often short time at
my disposal for
doing so.

I have, therefore,
decided to avail
myself of assistance,
and have secured
the services of one “ Me write the records ?
whom I am at any If that ain’t a bigger
rate hoping will break than the flower
prove tobea valu- vase last Tuesday! ”’
able colleague.

Her name—yes, “ it’ is a she—is Agnes.
In no circumstances should that be taken as
an invitation to indulge in an abbreviation.
“* Aggie ”’ is taboo.

Agnes hails from a sleepy, but picturesque,
little hamlet, the sublime peace of which has
been disturbed during the last century by
nothing more exciting than the demise of
ex-postmistress Mrs. Bloggs, at the ripe old
age of one hundred and four.

Up to time of writing she—that is to say,
Agnes—-has negotiated without serious
damage or discomfort to herself eighteen
winters and nearly as many summers.

Originally she joined my household to
assist in the performance of sundry domestic
duties. Her working knowledge of them is
not all it might be, but she is a born optimist.
The fact that her tender attentions to my
better china have reduced us to Woolworth
plates and tin mugs troubles her not one whit.

Unfortunately, in view of the prevailing
state of the labour market, Agnes will have

to continue, as far as her incapability per--

mits, with these duties, so her new responsi-
bility will be somewhat in the nature of a
part-time job ; but judging from the hours
she is able to devote (whenever my wife’s
back is turned) to the family gramophone
she should be able to spare me as much of

her time as you or I are likely to consider
essential.

One of Agnes’s more obvious advantages
is that, while she has fructified into a verit-
able fiend for “ that there jazz,” she has not
yet become what is derogatively known as
sophisticated. She is, therefore, in an un-
usually good position to give an unbiassed
opinion (and, believe me, she does!) on
those records which my longer experience
prevents me from looking upon with a more
desirable public-mindedness.

ou may not always agree with Agnes any
more than you do with me, but she has a
knack of saying pithily the right thing at the
wrong moment which I trust you will find
entertaining if not always enlightening.

So that you may know which are her
contributions she suggests they be put in
italics. This shall be done.

Ave Agnes !

a e
THE MONTH’S
TOPIC FOR DISCUSSION

That English recording is to-day
in advance of American.

Evidence Records :

For— Japanese Sandman and Miss
Annabelle Lee by Phil Green and His
Orch. (Parlophone F473—I1s. 6d.)
and Long Gone from Bowling Green by
Willie Bryant and His Orch. (H.M.V.
B8435—2s. 6d.)

Against—These Foolish Things by
Benny Carter and His Orch.(Vocalion
5—2s. 6d.) and Announcers’ Blues by
Frank Trumbauéer and His Orch.
(Brunswick 02197—2s. 6d.).

e *
Book Review

“Rhythm on Record”

HAT must be one of the most
astonishing works of reference ever
completed has just been published

by our contemporary, the Melody Maker.
Written by Hilton R. Schleman, entitled
** Rhythm on Record,” and illustrated with
numerous interesting photographs, its three
hundred and thirty-odd closely printed pages
contain the personnel of practically every

** jazz’ record released during the years
1906 to the commencement of 1936.

In addition it contains biographical details
of all the band leaders and more prominent
musicians concerned with these records.

The thirty-seven pages of index to the
combinations and personalities at the end of
the book alone contain almost four thousand
names. How many records are dealt with
we have not had time to calculate. They are
innumerable.

The patience and tenacity of purpose
which enabled one man to collect from all
parts of the world, analyse and collate such
an astounding wealth of information passeth
all understanding, but Mr. Schleman is
likely to be well repaid for his labours. He
has made a name which will be respected
for years to come. Further, he should reap a
good financial reward, for this is a book of
such value and absorbing interest to all jazz
protagonists and enthusiasts that few will
remain without it. (Price 7s. 6d.) E. J.

Accompaniment Records

Avalon (Jolson and Rose) (Jimmy Dale’s
arrangement as published)

Limehouse Blues (Braham) (Walter Paul's
arrangement as published)
(Brunswick 02184—2s. 6d.).

Sweet Sue (Harris and Young) (Jimm,
Dale’s arrangement as published)

Bugle Call Rag (Pettis, Mills and Schoebe!
(Jimmy Dale’s arrangement as pub-
lished)
(Brunswick 02185—2s. 6d.).

These latest additions to the ‘* Melod\
Maker—Rhythm” Series of Brunswick
Accompaniment Records are, I think, the
best turned out to date.

The rhythm section responsible has now
absolutely mastered the not too easy task ot!
performing without the psychological and
practical inspiration of a melody lead, anc
plays with a confidence which gives the
records a very healthy kick.

Also the quality of tone seems better, due,
I expect, partly to the fact that the Thame:
Street Studio was used and partly to the
omission of bass drum which allows Wally
Morris’s excellent string bass to come
through more prominently.

Excepting when, on account of the thre:
minutes’ time limit, a repeat chorus has
had to be omitted, in response to popular
demand all four titles are the complet
arrangements exactly as published.

m\

e|
ib-

ick
the

te

June 1 936

BRUNSWICK
Frankie Trumbauer and His Orch.(Am.)

Announcers’ Blues (Stokes and Trumbauer)
Flight of a hay-bag (Trumbauer)

(Brunswick 02197—2s. 6d.).

Frank Trumbauer (alto) with J.
“Mintz” Muensenberger, “Mud”
Heyes, John Cordaro (saxes); Chas.
Teagarden, Ed. Wade (trumpets) ; Jack
Teagarden (trombone); Roy Bargy
(piano) ; G. VamEps (guitar) ; Art Miller
(bass) ; Stam King (drums).

(‘rumbauer’s return to the recording
studio, after an absence of well over a year,
looks like being as notable an event as the
Dorsey’s burst of brilliance which resulted in
the famous By heck and Old man Harlem (both
01575) and Shim-sham-shimmy (01505).

‘his new Trumbauer music has the light
wit and originality which made the Dorsey’s
offerings so delectable, and there is the same
neat skill in the way it is played.

'f you have ever been, or listened-in, to
America, you will realise where wag Mr.
Tram got Announcers’ Blues from. It is based
on the three notes, soh-me-doh, of the
N.B.C. call sign. As the whole country has
for the last ten years heard it every half-hour
throughout most of the day and night, I can

well appreciate that it has given their
announcers (and probably everybody else !)
the blues.

In this case, however, the blues are any-
thing but melancholy ; in fact quite a bright
little opus in snappy tempo.

l'rumbauer, like wine, improves with age.
He still plays his same unmistakable style
with, if anything, a more immaculate
finesse, and the present day swing of the
accompaniment makes him sound more
rhythmical. He has solo passages in both
titles, also there are some grand ‘Tea-
gardenings, some fine Van Eps, and lots of
quaint drum and cowbell breaks which I
expect will amuse Agnes.

What hay-bag means in this particular
instance I am not quite sure—I don’t speak
that much American—but if it’s what I think
it is they are quite right. She sure is a flighty
bit, and amusingly so, too.

* * *

Albert Ammons and His Rhythm Kings
(Am.)
Boogie woogie Stomp (“* Stuff’? Smith)
Nagasaki (Warren and Dixon)
(Brunswick 02187—2s. 6d.).

Albert Ammons (piano) with D’Albert
Bright (alto and clarinet); Guy Kelly
(trumpet) ; “Ike” Perkins (guitar) ; Israel
Crosby (bass) ; J. Hoskins (drums).

Here we have what looks like being the
most original and exciting record of the
month.

Jazz has always had to suffer such slatings
from the highbrow intolerants for any mis-
deeds it has committed that, fearing as much
for their own prestige as for the good
reputation of their music, the majority of its
adherents have until recently been scared
even to wink at, let alone encourage, any-
thing which stresses its primitive side to the
exclusion of what may be termed its more
sophisticated aspects.

Perhaps there is something to be said for
this state of affairs. Jazz can boast of no
inherent restraint. Slacken the rein, and its
romps soon run off the path of innocent
mischief to the road of dangerous horseplay.

The GRAMOPHONE

31

Swing Music Booming Everywhere

Venuti, Lang and Goodman in new Columbia “ Super Swing Music’ Series
Goodman and Krupa again in H.M.V.’s Series ¢ Benny Carter and Joe Haymes
continue last month’s Vocalion innovation ¢ Parlophone standard maintained by
new Bud Freeman group © Trumbauer and Grappelly features of Brunswick

and Decca outputs e

Yet when jazz is in its better moods its
primitiveness can be most attractive. Jazz
in the raw has the power to create an atmos-
phere which Agnes succinctly describes as
** simply terrif,” and that is what happens in
these two records.

In Boogie woogie Ammons plays his piano
(the record is practically a piano solo) in a
style which is a cross between that of Cleo
Brown and Meade Lux Lewis. All three
base their modes on the original honky-tonk
of the rowdier and coarser negro dives, the
main difference between them being that

r. Ammons reverts more nearly to type,
and in consequence is not only himself a little
nearer the soil but gets his accomplices down
—or up (it depends on how you look at it)—
to the same level. And what is more, he’s got
me there too.

* * *

Duke Ellington and His Orch. (Am. N.)
Isn’t love the strangest thing? (Coots and
Davis) (v by Ivie Anderson)
No greater love (Symes and Jones)
(Brunswick 02194—2s. 6d.).

Duke Ellington (piano) with O. Hard-
wicke, H. Carney, J. Hodges (saxes) ;
B. Bigard (clarinet) ; Ch. Williams, Rex
Stewart, Ch. Allen (trumpets) ; J. Nanton,
J. Tizol, L. Brown (trombones) ; F. Guy
(guitar); H. Alvis, W. Taylor (basses) ;

mny Greer (drums).

I hate to say I like these records because
it is too much like encouraging the practice
I am all against of taking up the time of
worth-while bands with commercial tunes
which are seldom worthy of their attention.

But in this case the songs are not too bad,
at any rate Ellington makes them sound
pretty good. Still it is the playing of the band
that I really enjoyed. Good or bad melodies,
the Duke treats them in a way that does
nothing to conceal the individuality and
character of his still unique ensemble. The
music is unmistakably Ellingtonesque, and
that ought to be enough for anyone.

* * *

Fletcher Henderson & His Orch. (Am N.)
Blue Lou (Sampson)
Christopher Columbus (‘‘ Choo” Berry and
Razaf )
(Brunswick 0219g0—2s. 6d.).

If Mr. Columbus had known that this
was going to be one of the results of his
discovery he might have thought twice
about setting out on that eventful journey.

You see musical taste was different in those
days. They didn’t think the same way as
Mr. Berry does. Nor may some people
to-day. You need to have a very decided
liking for blue phrases and brass figures, or
this blistering concoction is going to get you
down. That goes for England at any rate.
In America, strange to say, the number has
already come into the popular hit category.

One of the tune’s outstanding points is
that it has been given a really good stock

Regal present Station KXYZ’s Novelty Band.

arrangement—at least I take it that this is
the stock orch. because all the records issued
so far seem to be from the same score. Solos
and details differ, but the routines and
writing for sections and ensemble seem to
vary little, if any.

But of course it is these solos, details, and
general individuality of interpretation which
make all the difference.

Henderson’s record is easily one of the
best. I like the tempo, and if I say that the
band is as good as that which played Rug
cutters’ Swing, Memphis Blues, Tidal wave,
etc., that should be sufficient recommenda-
tion for the performance.

Good as this side is, however, I liked Blue
Lou better. This tune of Edgar Sampson’s
has always been a favourite of mine, and I
hardly dare hope to hear a grander record
of it than Henderson’s.

COLUMBIA

Columbia do love names. Undaunted by
the doubtful reception accorded their recent
** Special Swing Records,” they have gone
one better in way of gaudy appellations and
this month introduced a new series of what
they are pleased to term “ Super Swing
Music.”

However, don’t let the description put
you off. If this new series is continued in
the way it has started Columbia will have
gone a long way towards retrieving their
laurels,

Nos. 1—6 are released to-day. ‘The first
two are :—

Andy Kirk and His Twelve Clouds of
Joy (Am. N.)
Christopher Columbus (“‘ Choo ”’ Berry)
Froggy bottom (C. Williams) (v)
(Columbia DB5000—2s. 6d.).

Those who remember this combination
by some of its earlier Brunswicks will find
it improved out of all recognition. In
place of the corny stodginess is an ensemble
that can swing with the best, and boast
some good soloists.

Among the latter are the tenor man,
featured in Christopher Columbus, and the
guitarist, who has a single string solo in
Froggy bottom ; but the outstanding individu-
alist isnone other than Mary Lou Williams,
a pianist who could be aptly described as
a super female Earl Hines. I hope that
if we are given more of the band’s records
they will contain even more of this talented
young lady. I could listen to her till the
cows come home.

* * *

Joe Venuti (violin) and Eddie Lang
(guitar) (Am.)
Black and Blue Bottom (Venuti and Lang)
Swinging the Blues (Venuti and Lang)
(Columbia DB5001—2s. 6d.).
Many problems will have to be solved
if ever the inner history of swing music

32

comes to be written, but surely none more
incomprehensible than the reason why these
two Venuti-Lanys have been withheld for
so long.

Recorded round about 1927, they are
none the worse because they are two of
the earlier results of the Venuti-Lang
partnership which eventually became world-
famous. In fact, they are two of the best.

Swinging the Blues is the wolf in tiger’s
clothing—none other than our old friend
Tiger Rag. It is the perfect specimen of
the unique understanding there was be-
tween these two artists and of Venuti’s
power of melodic invention and ability to
extemporise bar after bar without ever
turning a phrase awkwardly or becoming
dull. True, he had a terminology of his
own to which he adhered so closely that
many accused him of repeating himself,
but it should be appreciated that he never
copied. He himself created all he played,
and if outwardly his phrases were often
similar, there was usually a subtle but
sufficient difference in the way he used and
interpreted them. You will appreciate this
if you compare Black and Blue Bottom with
some of the early Venuti-Lang Parlophones
to which it has a superficial likeness.

* * *
Benny Goodman and His Orch. (Am.)

Night Wind (Rothberg and Pollock) (v

by Helen Ward)
Willie Lewis and His Orchestra (Am. N.
Recorded in France)

Stardust (Carmichael)

(Columbia DB5002—2es. 6d.).

Stardust.—Willie Lewis (alto) with
Nelson Kilcald (alto), Jerry Blake (tenor
and clarinet), Bobby Martin (trumpet),
Herman Chitison (piano), J. Mitchell
(guitar), Jume Cole (bass), Ted Fields
drums).

Night Wind.—Benny Goodman (clarinet)
with possibly Benny Kanter (alto),
Arthur Rollini (tenor), Russ Case
(trumpet), Jack Lacey (trombone), G.
Van Eps (guitar), Hank Wayland (bass),
Sam Weiss (drums), &c.

Unfortunately these two do not quite
come up to the standard of the preceding
four “ Super Swing Music ”’ titles.

Benny Goodman’s side is little more
than a reasonably good ‘ commercial ”
arrangement of the title, and while the
band has something of the Goodman touch,
it hardly reaches the pinnacle of his more
recent H.M.V.’s.

Stardust ought to have been much better.
It is by no means badly arranged, but the
combination, for all its trying, just misses
that lightness and polish which make the
difference between what a band and just
a band.

* * *
joe Venuti and His Orchestra (Am.)
Stop! look and listen (Freed and J. and G.
Van Epps) (v)
Yankee doodle never went to town (Freed and
Hanighen) (v)
(Columbia FB1394—1s. 6d.).

Joe Venuti (violin) with “Toots”
Camarata, Toni Giancelli, John Owens
(trumpets) ; Ernest Stricker, “ Chuck ”
Evans (trombones) ; Murray Williams,
Carl Orhic, Elmer Beechler, Bob Romeo
(saxes) ; Joe White (piano) ; Noel
(guitar) ; “Buss” Michaels (bass).
Vocalist : Ruth Lee.

Joe Venuti’s new band is now playing, I

The GRAMOPHONE

believe, in Hollywood. An excellent com-
bination that knows how to swing bright
arrangements of commercial tunes.

* * *

Scott-Wood and His Six Swingers
Handel in Harlem (Scott-Wood) (v)
My sweetie went away (Turk. Handman) (v)

(Columbia FB1405—1s. 6d.).

G. Scott-Wood (piano and arranger
with F. Gardmer (saxes and clarinet)
H. Owen (trumpet), J. Flemming (trom-
bone), J. Young (guitar), R. Escott (bass),
J. Jacobson (drums). Vocalist: Sam
Costa.

Mr. Handel was the man what invented that
special sort of beer the Germans drink and then
wrote a tune all about church just to show how
good he was and that therefore his beer must be
good too.

Clever, wasn’t he—but he ain’t got nothing on
Mr. Scott-Wood, who's taken the same tune to
show how much better the beer tastes when drunk
in one of them there dance palays where the
drummer instead of hitting tin cans, likes they
used to, is the village blacksmith and plays the
mangle.

Then you turns it over and finds out how glad
they all is that their sweethearts has gone off
somewhere else, cause it means they can go back to
the other side and have some more of Mr. Handel’s
beer with the blacksmith.

Grand, ain’t it ?

Yes, Agnes, you’ve said it. That’s grand—
until Mr. Scott-Wood sees you.

DECCA

Stephane Grappelly and His Hot Four
(French)
It was so beautiful (Barris and Freed)
I’ve found a new baby (Palmer and Williams)
(Decca F5943—Is. 6d.).

Stephane Grappelly (violin) with Django
Reinhardt (solo guitar) ; J. Reinhardt, L.
Volga (guitars) ; Roger Chapet (bass).

Grappelly and his satellites make no attempt
to deviate from their now well-known way
of doing things, and candidly I would be one
of the last to want them to. Ever since I first
heard their records they have been an un-
ending source of pleasure to me, and these
two, in which they are well up to form, are
no exception. Reinhardt remains the same
wizard of the guitar, Grappelly is still
Venuti’s only rival, and a better accom-
paniment from the available instruments
could hardly be imagined.

And if all that sounds trite, it’s merely
because I have said so often before everything
else [ would like to say now.

* > *

Louis Armstrong and His Orch.(Am. N.)
Falling in love with you (Young, Newman
and Kahn) (v)
Rhythm saved the world (Chaplin, Cahn) (v)
(Decca F5961—1s. 6d.).

Louis Armstrong (trumpet and vocalist)
with H. Jones, C. Holmes, B. Madison
(altos); G. Walton (tenor); L. Davis,
G. Aiken, L. Bacon (trumpets) ; H. White,
J. Archey (trombones) ; Luis Russell
(piano) ; W. Blair (guitar) ; G. Forster
(bass) ; P. Barbarin (drums).

Somehow Mr. Armstrong’s records don’t have
the same sparkle as they used to. Of course, he
still plays his trumpet beautiful, he do, but the
tunes don’t seem so good, not like those old ones
like the ** Rascal’’ and ‘* Ain’t misbehavin’ ”’ for
instance. There ain’t the stuff in what the band

June 1936 |

plays neither though it do seem as they seems to
play neater this month.

I do wish as I could do something about that
sore throat of Mr. A’s. Had it something chronic
For years he has now and it don’t seem to get much
better.—Agnes.

H.M.V.
Gene Krupa and His All Star Swing
Ban

Am.)

Mutiny in the parlour (Heyman and Lawn-

hurst) (v by Helen Ward)

‘Swing is here (Krupa, Eldridge and Berrv)

(H.M.V. B8432—2s. 6d.).

Gene Krupa (drums) with Benny Good-
man (clarinet), ** Choo” Berry (tenor
Roy Eldridge (trumpet) ; J. Stacey
anarg ; A. Reuss (guitar) ; Israel Crosby
(bass).

These are the remaining two from the
same session as Krupa’s J’m gonna clap ny
hands and I hope Gabriel likes my music
(H.M.V. B4829) which sent me superlative
hunting last month.

There is plenty of good stuff in the fas*,
noisy display of exuberance entitled Swi) ¢
1s here.

The first chorus is a jam session for
everybody. ‘“ Choo” takes the second (and
you know how he can swing), Benny the
third and Eldridge the fourth. Eldridge als»
takes the first half of the fifth, and then the
biggest thrill of all happens. Eldridge, who
has already excelled himself (I don’t think
any other trumpet has quite such a variety
of styles) again completely changes his mode
and drops back to allow “*‘ Choo ” to come
in, and the way he does is one of the grandest
things I heard.

The other side is more subdued but none
the less attractive. Helen Ward’s vocal is
fine (she gets better every day), there 1;
heaps more excellent Eldridge, and although
apart from background work ‘‘ Choo” ha;
only the introduction and 8 bars in the last
chorus he makes the most of them. The only
disappointment is that in this side we hear
so little of Mr. Goodman.

* * *

Benny Goodman and His Orch. (Am.)
Christopher Columbus (‘* Choo”’ Berry, Razat )
Madhouse (Mines and Mundy)

(H.M.V. B8431—2s. 6d.).

Benny Goodman (clarinet) with Geo.
Irwin, Harry Gellert, N. Kazebier
(trumpets) ; Joe Harris, Sterling “ Red”
Ballard (trombones) ; W. de Pew, Hyman
Schertzer (altos) ; Dick Clark, Arthur
Rollini (tenors) ; J. Stacey (piano)
A. Reuss (guitar) ; H. man (bass) ;
G. Krupa (drums).

Madhouse may be appropriately named a:
a tune, but there is nothing mad about th:
way it is played. Goodman’s band can be—
and in this case is—as exciting as any, but
it is far too artistic ever to be blarey.

There is the same perfection of interpreta-
tion that has been the feature of the many
other better Goodmans H.M.V. have given
us recently. The ensemble has a balance and
polish which make it immaculate in these
respects, moreover it rides as no other white
aggregation, and mighty few coloured ones,
can. Benny Goodman’s clarinet solo is just
another of those things, and Jess Stacey plays
a grand piano passage notably supported by
the rhythm excelling even itself.

I cannot work up quite the same enthusiasn

June

over
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June 1936

over Christopher Columbus. It falls down on
one thing only, but that is enough to have
almost killed its atmosphere. The tempo is
so slow that the point of the number is
entirely lost. Even so the performance is
such that one cannot help again admiring
the well nigh perfect musicianship and style
of this grand combination,

* * *

Willie Bryant and His Orch. (Am. N.)
Long gone from bowling green (Smith and
Handy) (v by Willy Bryant)
Mills Blue Rhythm Band (Am. N.)
Harlem after midnight (Garland)
(H.M.V. B8433—2s. 6d.).

Long gone—Possibly W. Bryant conduct-
ing Dick Clark, Bobby Cheek, Ed. Battle
(trumpets) ; J. Haughton, Rebus Horton
(trombones) ; Glyn Pacque, Stanley
Payne, J. Russell, Ben Webster (saxes) ;
Teddy Wilson (piano) ; “* Cosy” Cole
(drums) ; Arnold Adams (guitar) ;
L. Thompson (bass).

Harlem after midnight—Same as for this
title on Vocalion 6 (see p. 34).

My impression from the many American
records I have of Willie Bryant’s outfit is of
a fine band usually spoilt by Mr. Bryant’s
raucous vocal effects.

This particular one, however, finds him
quite subdued, croaking in Don Redman’s
intimate style the lyric of an amusing bit of
nonseuse that melodically is something of a
cross between Old man Mose and the I’se a
muggin’ part of J’se a muggin’. The band
plays its part with a real swing.

The recording might have been better. If
your gramophone can give you enough tops
to make the words as distinct as they should
be, the clarinet and trumpet solos will shriek
at you ; if it can’t the words will not be too
clear. ‘This is a matter which should, of
course, have been taken care of during the
recording.

Harlem after Midnight is a busy arrange-
ment of one of those out and out hot numbers
in which this band seems to delight. The
performance is a little rough in places, but
otherwise’ by no means too bad. Joe Garland
does a good job with his tenor solo.

* * -

“Fats” Waller and His Rhythm (Am.N.)
Sugar Rose (Ponce and Waller) (v by
“Fats ” Waller)

That never-to-be-forgotten night (Tobias and
Fain) (v by “ Fats ” Waller)
(H.M.V. BD5062—1s. 6d.).

Ain’t it awful. I believe I’ve fell for this Mr.
Waller. I’ve dreamp of ’im for the last three
nights. Funny, cause I’ve never even seen ’im.
Suppose it must be the way he sings these songs.
All croony and seductive he is this time. And
don’t he play the piano just lovely. Sometimes
s0 soft and coaxy and then he’ ll start to get louder,
just like thunder gettin’ nearer. Gives you a real
thrill, he does.

Wish I could have had this record, but the
master’s already put it away with those what he
keeps.—Agnes.

* * *

Paul Whiteman presents the Teagarden
Boys and Trumbauer Swing Band (Am.)
I’se a muggin’ (“ Stuff’? Smith) (v)
(Parts I and II H.M.V. BD5063—
1s. 6d.).
Frank Trumbauer (alto), Bud Free-
man (tenor), Ch. Teagarden (trumpet),
J. Teagarden (trombone), Roy Burgy

The GRAMOPHONE

(piano), Carl Kress (guitar), etc. Vocalist,

jJ. Teagarden.

Probably the best record of this amusing
mathematical chorus song.

On side 2 Big T. explains lucidly what has
to be done and then gives you the chance to
do it with him.

(Bet you don’t get through without a mistake.—
Agnes.)

Side 1 is for the fans. After a vocal by
Big T. (the muggin’, not the counting, move-
ment) there are solos by Big and Charlie T.
and “ Bud.”’ All good stuff, assisted by an
accompaniment that is neat and nearly
swings.

* * *
The Ballyhooligans
Somebody stole my gal (Wood)
Temptation Rag (Lodge)
(H.M.V. BD5065—1s. 6d.

Phil Green, Slim Wilson (pianos)
Harry Smith (clarinet) ; Wally Morris
(bass) ; Max Lewin (drums).

Coo lumme, these have fair took my breath away,
they ’ave. The way those boys runs up and down
them pianos so fast is something wonderful.
Agnes.

WITH THE EDITOR’S
COMPLIMENTS

THE GRAMOPHONE has no objec-
tion to the procedure, now being
extensively carried on, of other publica-
tions reprinting the personnels given
by Edgar Jackson in this section, but
the courtesy of an acknowledgment
would be appreciated.

Readers will, of course, realise that
the information is available first in
these columns.

* *
PARLOPHONE
Bud Freeman and His Windy City Five
(Am.)

The buzzard (Freeman)
Tillie’s downtown now (Freeman

(Parlophone R2210—2s. 6d.).
Bud Freeman (tenor and clarinet) with

B. Berigan (trumpet), Claude Thornhill
(piano), E. Condon (guitar), Grachan
Moncur (bass), W. “ Cosy ” Cole (drums).

I expect you know that * Windy City ”’ is
another name for Chicago ; further all these
artists are Chicago lads. From which you
will gather that these performances are in
Chicago style (whatever that may mean).

The Tillie side has a rather amusing
history. Actually the boys sat down to give
a swing version of the commercial “ pop,”’
Boots and saddle ; but when the result came
to be heard it had such little resemblance to
the tune it was originally meant to be that
everyone decided there was no need to
pay royalties to somebody else, and they
re-christened it after Tillie’s Inn in Chicago,
a favourite haunt of Mr. Freeman’s. Any-
way, that’s the tale I heard and it’s good
enough to pass on.

The buzzard may be classed as a sequel to
The eel.

More than once I have said that Bud
Freeman is a most unreliable player, but I do
not think he is entirely to blame. He is one
of those people who, it seems, need the
inspiration of the right accompaniment. He

gets it here and so you hear Bud at his best.
Incidentally The buzzard marks the first
occasion on which he has recorded on
clarinet. Seems we have been missing some-
thing.

In spite of the fact that Thornhill was
perhaps not the most suitable pianist to have
chosen for a band of this sort, both titles are
superlative records. The only really weak
part of either side is the last chorus of The
buzzard. There is so little understanding
between Freeman and Berigan.

* * *

Duke Ellington and His Orch. (Am. N.)
Black and tan fantasy (Miley and Ellington)

Charleston Chasers (Am.)
Wabash Blues (Meinken and Ringle
(Parlophone R2211—2s. 6d.).

Black and tan—Duke Ellington (piano
with O. Hardwicke, H. Carney, Rudy
Jackson (saxes) ; Albany Bigard (clarinet:
“Bubber” Miley, L. Metcalf, A. Whetsol
(trumpets) ; Joe Nanton (trombone
Fred Guy (banjo); W. Braud (bass
Sonny Greer (drums).

No one is likely to complain at the re-issue
of Black and tan. In fact the reason for the
withdrawal of the original 1926 issue has
always been a mystery to me. _ True,
incorrect labelling ascribed the performance
to Louis Armstrong, but no one ever seriously
suggested that that was sufficient grounds for
denying us what (in spite of reproduction
that does not always reach to-day’s stan-
dards) still remains the best performance of
une of the most fascinating pieces of music
ever presented in the guise of jazz.

There are few, even among those who
know the record, who will not be gripped by
the mournful 12-bar Blues opening and
thrilled by the contrasting inspiration of the
next movement with its intriguing enhar-
monic changes in the third and eleventh
bars. Later there are the classic trumpet
solos (generally accredited to the late
** Bubber”’ Miley, but don’t be surprised if
one day it is proved that they were played
by Jabbo Smith) and some of Ellington’s
most delightful piano playing.

Wabash Blues was recorded when “ Red ”
Nichols ran the C.C’s. The influence which
the Dixieland still had in those days is very
evident. I feel that the tuba and bagjo solos
are rather a waste of time, but I think you'll
like the clarinet and especially the trombone
at the end. The record certainly has its
moments.

* *
Phil Green and His Orchestra
Japanese Sandman (Egan and Whiting
Miss Annabelle Lee (Clare and Pollack) (v)
(Parlophone F473—1s. 6d.).

Phil Green (accordeon) with Harry
Balin (violin) ; G. Elliott, Billy Bell
(guitars) ; Wally Morris (bass) ; Max
Lewin (drums).

I thought Mr. Green’s Ballyhooligans was
good, but I guess I like these much better. They're
just as exciting and the boys play just as clever,
and there’s something about them that makes you
want to do proper fox-trot steps instead of the
polka. That Mr. Elliott, too. I used to think as
‘ow that Mr. Harris was smart, but he don’t
seem to have nothing on this Elliott lad. And
don’t this Mr. Morris play lovely? The only
thing I don’t like is Mr. Green’s accordeon. Not
that he don’t play it good, but somehow it neve?
do seem the right thing for playing the jazz.
Always sounds . . . what is the word them band

34

boys use . .. yes, Cornish (she probably means
- “corny”’—E. J.) to me, like the bagpipes.—
Agnes.
Gee, Agnes, I believe you're beginning
to learn something about it all.—E. J.
* * *
Nat Gonella and His
I’se a-muggin’ (Smith) (v)
Yes, yes, yes, yes (Millinder and Mills) (v)
(Parlophone F462—1s. 6d.)
His old cornet (Robison) (v)
Kickin’ the gong around (Koehler, Arlen) (v)
(Parlophone F463—1s. 6d.).

Nat Gonella (trumpet and vocalist) with
Pat Smuts (tenor) ; Harold (piano) ;
J. Messini (guitar) ; C. Winters (bass).

What I likes about Mr. Gonella is that he
do have such fun with this ere jazz. Don’t take
life too serious like.

Of course I know it ain’t the jazz what the -

musicians and them as says theys critics likes, but
any ow, who cares about the likes of them.

I ain’t got time to tell you all about each of
these records, because the washing-up ain’t done
yet, and I’ll have the missus shoutin’ the odds ;
but if you wants a bit of clean fun, you go round
to the man what sells *em and take your choice.

I overheard the master say that he was goin’ to
keep the ** Yes Yes” one cause of the playin’ of
Mr. Hood and that there Smuts what plays the
saxophone. Guess he'll be unlucky. JI ain't goin’
to ’ave my collection spoilt just cause he wants
one, not so long as my name’s—Agnes.

* a *
Luis Russell and His Orchestra (Am. N.)

Poor li’l me (Barbarin) (v)

Jungle Town Stompers (Am.)

African jungle (Williams)

(Parlophone R2212—2s. 6d.).

Poor li’l me.—Luis Russell (piano) with
A. Nicholas (clarinet) ; C. Holmes (alto) ;
Theo Hill (tenor) ; Henry Allen and O.
Johnson (trumpets) ; J. Higginbotham
(trombone) ; W. Johnson (guitar) ; P.
Barbarin (drums) ; G. Forster (bass).

Both old recordings released under head-
ing ‘* Race Series”? sub-described as ‘* The
Negro and his Music.”

First side a good tune of the melancholy
type of which a better record could easily
have been made. Band uninspired and
swing practically killed by stodgy bowing of
bass. Best parts Charlie Holmes’s alto and
Henry Allen’s trumpet solos.

Fair alto and trumpet solos only points of
any interest in African jungle.

* * *
Billy Jones and His Dixieland Band

Bluin’ the Blues (Ragas)

Ive got the sweetest girl in all the world
(Donaldson) (v by Winnie Cooper)
(Parlophone R478—1s. 6d.).

Billy Jones (piano) with “ Maurie”
Sheffield (clarinet); Arthur Williams
(cornet); Geo. Latimer (trombone); and
Doug. Howson (drums).

The music of the oe. pat Dixieland Band
is universally recognised as having been one
of the important stepping stones on which
jazz trod its way to its present standard.

For this reason the memory of the com-
bination and its original American members
is respected.

But that does not mean that in the light
of progress the music to-day would sound
anything more than a rather unpleasant and
quite yt noise, and its interest is,
consequen urely historical. As historic
examples Ff to be genuine to be of any

The GRAMOPHONE

value I am afraid I can only say that these
palpable reproductions are of no more value
than modern reproductions of old masters
ever are.

The fact that English pianist Billy Jones
played for a while with the O.D.B. when it
visited London more than a dozen years ago
has hardly any bearing on the matter.

If any more records by this outfit are
issued I will try them on Agnes—she may
find something in them to amuse her—but I
hope there will not be. I am surprised that
Parlophone fell for what is after all only a
deplorable waste of wax.

REGAL-ZONOPHONE

Broadway Rhythm Kings (Am.)
Bugle call rag (Pettis and Schoebel)
Bob Pope and His Orchestra (Am.)

The bug

(Regal-Zonophone MR2105—1:s.).

“Broadway Rhythm Kings” is merely
Regal’s pet name for the KXYZ Novelty
Orchestra.

KXYZ is an American radio station, and
a comparatively obscure one at that. But
the choicest blooms often flourish in the
most obscure places. This little six piece
busking group is as snappy as they make
‘em. There isn’t a dud in the bunch, and
you just hear the bass player go.

So Mr. McCoy—Clyde McCoy wasn’t he ?—
isn’t the only one what has nightmares and then
goes and sobs and makes funny noises about it on
his trumpet. Mr. Pope’s been seein’ things too,
and it’s took ’im the same way.—Agnes.

* * *

The Dixie Devils
Poor butterfly (Golden and Hubbell)
Sweet Sue (Harris and Young) (v by Geo.
Melachrino)
(Regal-Zonophone MR2102—Is.).

Geo. Melachrino (saxes and clarinet),
Joe Young (guitar), Dick Escott (bass),
Jock Jacobson (drums), Cecil Norman
(piano), Geo. Scott-Wood (piano and
director).

That Mister Scott-Wood ain't half good at
imitations. This time he’s took off the band what
plays at our Town Hall on Saturday nights.
Cause it don’t sound quite the same cause Mr.
Wood’s boys has more tekni teckni I
means they plays better, but they've got the style
to a tee.—Agnes.

VOCALION

Joe Haymes and His Orchestra (Am.)
Christopher Columbus (‘‘ Choo ”’ Berry)
Blue Rhythm Band (Am. N.)
Harlem after midnight (Garland)
(Vocalion 6—2s. 6d.).

Christopher Columbus—Cliff Wettereau,
Chris Griffin, “Zeke” Zarchey (trum-
pets) ; Mike Michaels, Frank Llewellyn
(trombones) ; Edgar Sarason (alto) ; Fred
Fellensby (tenor) ; Leo White (clarinet) :
Ben Harrod (baritone) ; Bill Miller
(piano) ; * Brick” Fleagle (guitar) ; Chas.
Bush (drums) ; Jack Faye (bass) ; Joe
Haymes (director).

Harlem after midnight—Shelton Hemphill,
Wardell Jones, Ed. Anderson (trumpets) ;
Henry Hicks, Geo. Washington (trom-
bones) ; Crawford Wethington, Eugene
Mikell (altos) ; Joe Garland (tenor and
arranger) ; Edgar Hayes (piano) ; Ben

June 1936

James (banjo) ; O’Neill Spencer (drums) ;
Hayes Alvis (bass).

From the handful of his records issued over
here few would realise that Haymes has a
flair for making good bands, but it is so.
More than once he has disposed of his
combination, lock, stock, and barrel, only
to have another equally good within a few
weeks. One was taken over by “ Buddy ”
Rodgers ; another by Tom Dorsey when he
recently split with brother James. Tronical'y
enough many of the lads from the latter are
already back again with Haynes following
words with Tom.

I doubt if I am far wrong in saying that
this is the best Christopher Columbus to date.
The fastest of them all (and that doesn’t
make it so fast either) you feel that it is just
the right tempo for the number. Also I like
the happy balance Mr. Haymes has struck
between his brass and excellent sax team
by keeping the former in hand—a very
necessary procedure judging by the way
some of the others have let loose their
trumpets not only in solos, but on passages
which should have been looked upon as
background figures.

I think you are going to like this record.
The band can swing.

Harlem after Midnight is so like the already
mentioned H.M.V. record by the same
combination that there is little more than
the extra cymbal crash at the end of the
Vocalion to let you know that both versions
were not pressed from the same master.

* * *

Benny Carter (N.) and His Orchestra

Swingin’ the Blues (Carter)

These foolish things (Strachey and Marvell)

(Vocalion 5—2s.

Swingin’ the Blues—Benny Carter (alto,
clarinet, trumpet and arranger) with Tom
McQuater, Duncan Whyte (trumpets) ;
Andy McDevitt (clarinet) ; “ Buddy”
Featherstonhaugh (tenor) ; Pat Dodd
(piano) ; Geo. Elliott (guitar) ; Al Burke
(bass) ; R. Gubertini (drums).

These foolish things—above plus Max
Goldberg (trumpet) ; Ted Heath, Bill
Mulraney (trombones) ; E. O. Pogson
(alto).

Routines: Swingin’—1st chorus: Ensemble :
2nd and grd Featherstonhaugh ; 4th:
McQuater ; 5th and 6th: Carter (alto) ;
7th and 8th: McDevitt (clarinet) ; gth and
10th: Carter (trumpet) ; 11th: Ensemble.

These foolish things—All solos (alto,
trumpet, and clarinet) by Carter.

Swingin’ the Blues is a sequence of solo
choruses of a new composition by Carter
based on the conventional 12-bar Blues form
and written for performance at medium
swing tempo.

Limitation of space prevent a detailed
consideration of all the solos, but taken by
and large they are the complete vindication
of the British jazz artists. Much of the play-
ing compares with some of the best we get
from America. More than which I need not

say.

These foolish things in addition to being
another outstandingly good performance is
a lesson to all on how to arrange a pleasant
melody most effectively for the more go
ahead dance band.

am recommending these two sides in
spite of the fact that the reproduction is very
far from being all it should. Crystalate can,
and will have to do much better than this.

Fune 19

*No.
. 4
NY
{
* Star Se
N
. ‘
Ss

No.
3 (
i

Fune 1936 The GRAMOPHONE XUI

Colossal Success!

The NEW VOCALION

—"

7s

e
y
e
g
t
» HCCOFas
t
e
. Dance fans went crazy over our first release of Vocalion
; Swing Records—and now they’re howling for more! So
here are the latest numbers as well as the original ones—
/ every one a “star’’ recording by the kings of swing music ! =
. A
: &=
. BENNY CARTER JOE HAYMES a
AND HIS ORCHESTRA AND HIS ORCHESTRA _—9 °
*No. These Foolish Things No. Christopher Columbus a
y (Featuring Benny Carter—alto sax, trumpet 6 (A Rhythm Cocktail) = =
5 and clarinet) _— - =
Swingin’ the Blues BLUE RHYTHM BAND " my \
a

(Featuring Benny Carter—alto sax, trumpet) Harlem after Midnight

* Star Selection of the No. | Rhythm Club
LUIS RUSSELL AND

Nightfall (Featuring Benny Carter— Noo. HIS ORCHESTRA

No. clarinet, tenor sax and arranger) dati i "
Swingin’ at Maida Vale 2 Ot Gs the Freaxs
Hokus Pokus

4 (Featuring Benny Carter—alto sax, clarinet
) and arranger)
BENNY GOODMAN’S
MODERNISTS
N Solitude
©. HARLEM HOT SHOTS
3 (Featuring WINGY MANNONE)

March Winds and
April Showers

wre wwe w

i]

> TAFT JORDAN
9 AND HIS MOB

*No, (Featuring TEDDY WILSON)
| Night Wind
if the Moon Turns Green
* Star Selection of No. | Rhythm Club

cial

SEND FOR INTERESTING
LEAFLETS ABOUT THESE

NEW SWING RECORDS Obtainable from Marks & Spencer, Keith Prowse,
Selfridges, and all principal Gramophone Dealers

Vocalion Swing Records, 60, City Road, London, E.C.|

THE WORLD'S GREATEST SWING MUSIC

~

IV

A QUESTION

10a

Telephone - -

The GRAMOPHONE

OF PRICE /

DMITTEDLY you pay a little

more for an ‘‘ Expert * Hand-Made

Acoustic Gramophone, Radio Set, or
Radiogramophone, than you do for a
mass production factory built outfit. True
it is only slightly more, but the resulting
advantages of an hand-made “ Expert ”
production far more than justify the little
extra initial outlay involved.

Think ! in an “ Expert” you get, first
of all, hand-made workmanship at its best,
you get component parts of a far more
expensive type, and of a far greater reserve
of strength than any that a mass production
producer could afford to use, which means
freedom from trouble and a longer life.
You get that confidence that comes from
the fact that your outfit is buzlt, tested, and
tuned by musicians. You get “ stability ”’
of models and prices. You again derive
confidence from the fact that your
‘‘ Expert ” outfit is built for you to your
order and to your exact requirements ; it
is not a model “ just taken from stock.”’
You get high-class hand-made cabinet
work, to your own design, if necessary, in
any kind of wood and in any shade or
finish of that wood.

In short you get an individual production.
There are many other advantages in buy-
ing an “‘ Expert”? that I am unable to
mention in an advert. of this description.

Order your “ Expert” now! Do not
leave it until the winter. Prices from
16 Gns. Cash or privately arranged
Deferred Payments.

May I send you my latest lists—quite
free.

et

SOHO SQUARE, LONDON, W.I

GERRARD 3632

June 1936

The Gramophone Exchange

The Gramophone Exchange, Ltd.

121, Shaftesbury Avenue, London, W.C.z2.

Record Service
*

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You

will enjoy
PaiF9 I<...
mY LOVE

by CHARLOTTE HALDANE
//6 net

if you
Like a witty and exciting musical autobiography.
Like Bach and loathe Jazz.
Like Jazz and loathe Bach.

Want a full index of composer, composition and
record which will enable you to listen to the
author’s argument while you read.

ARTHUR BARKER

June

The GRAMOPHONE

COLLECTORS’

CORNER

by P. G. HURST

(Collectors wishing for replies to queries are asked to
write (not call or telephone), enclosing stamped, addressed
envelope. |

ECORDS of a category quite different from those generally
coming under notice in “‘ Collectors’ Corner,’ but which seem
to be of priceless historical and international importance, have
recently been reported to me, as their owner is concerned that
they should be properly provided for in the interests of posterity.
[hese records are cylinders, made in 1888 and 1889 ; they are
el: ven in number, and contain the actual voices of the following
wc rld-famous figures—Cardinal g, Lord Tennyson,

- Robert Browning, The Prince of Wales, The Princess of

Wales, Lord Salisbury, the Duke of Cambridge, Henry
In ving, H. M. Stanley, and Cardinal Vaughan.

Cardinal Manning’s record was taken on his death-bed, and
contains only a few words, which are, however, remarkably clear.
The only other known copy of this record is deposited in the
Vatican. ‘Tennyson recites his Charge of the Light Brigade. ‘The
records by the Prince and Princess of Wales (later Edward VII
and Queen Alexandra), and of Lord Salisbury, Prime Minister
of England, were made at Sandringham. The eleventh record is
described as “ the first phonogram to cross the Atlantic,” and is
by Thomas Alva Edison and addressed to Col. Gourand, who
* discovered ”’ him as a telegraph boy in the American War.

Here indeed is something of remarkable importance, and
fortunately the authenticity and “‘ pedigree ”’ of these treasures is
proved beyond any possible question. But what is to be done with
them ? It is a pity in a way that the question of their disposal
could not have been deferred until the public bodies in this
country were sufficiently awake to the potential value of rare
recordings, when it might have been worth while to approach
them seriously ; for we may take it as certain that they would
gladly pay twenty times the present market value for something
which had already risen in public estimation.

That the cash value of records like these is exceptionally high
may be taken for granted, though the figure remains un-
determined : but from what I hear, the collectors in the United
States of America have long since realised that if an object is
unique besides being of historical interest, the only thing to do
about it is to buy it, and to look at one’s cheque book counterfoil
afterwards. What a chance for that National Museum which
some of us have been piously envisaging! But perhaps this
disclosure, besides being interesting to more humble collectors,
may attract the eye of one of those wealthy connoisseurs who will
wish to ensure a permanent and honourable home for these
veritable links in our national history.

T’ seems but a step for those who love to acquire the records of

great singers of the past to extend their researches to include
autographs and letters of these famous artists. In fact I know of
several followers of ‘‘ C.C.”’ who have already done so, and I
readily plead guilty myself. For the same reason that we stricter
record collectors esteem highly the original records of our favourite
singers, we find something very personal in the possession of their
actual handwriting. ‘* Collectors’ Corner,”’ of course, exists solely
by reason of its gramophonic allusions, and I have no intention of
switching it away to autograph hunting ; but so many collectors
continue to pursue me with their lamentations that their utmost
perseverance in the field of record collecting remains unrewarded,
that I am tempted to suggest this as a temporary substitute of a
vaguely similar character.

Unfortunately most of the old signed photographs that one
finds at haphazard are badly faded, but the autographs remain ;
prints and reproductions cut out of otherwise useless books, and

newspaper cuttings of long ago operas and oratorios can be made
into useful scrap books. Indeed, I lately bought at second-hand
price the Reminiscences of Luigi Arditi, only to find that the
exceptionally interesting illustrations had already been removed
—presumably for some such purpose.

O show how great an interest can be found in letters left by

our favourite celebrities, I propose to indicate a few points in
some of the many letters written to the late Mme. Guy d’Hardelot,
which have been handed over to my keeping. At the same time
it may be apropos to refer to the origin of the famous composer’s
request to me (see “ C.C.” for February), to say something to
keep alive the memory of her old friend Emma Calvé. “. .. 7u as
raison, pour Londres on m’y connait plus! Mais Melba est encore
plus inconnue en France que moi en Angleterre!”? I wish we could
disabuse her mind: of the notion that she is forgotten here—
even in spite of the undoubted fact that she has done little enough
in recent years to keep us in mind of her charming and gracious
personality. Her non-appearance at the Savoy Theatre early in
this year caused much disappointment, to young as well as old,
and I feel sure she has been wrongly advised if she thinks that her
welcome in London would be in doubt. By her reappearance
Calvé could give us something which it would be beyond the
power of any younger singer to bring ; and surely she knows that
whatever our failings, we are never unfaithful to our old favourites.
That Melba is forgotten in France is easier to understand: but
in England, where opera is an exotic growth, our singers are too
costly and too valuable to be easily forgotten.

An interesting sidelight on operatic history which I may be
allowed to divulge is contained in a letter dated 1901 and written
from Milan, whither Calvé had journeyed to create the réle of
Messaline in Isidore de Lara’s opera of that name. She relates
verbatim and with gusto how the actress Duse felicitated her upon
being prevented by an attack of influenza from participating in
that fiasco. Apparently the performance had been wrecked by the
** friends of Verdi’? who had vowed that none save operas by the
master should be performed in Italy at that time of his death.
** Bene soit Vinfluenza!”’ she concludes with evident relief; but
adds that she will sing the réle in London and America, as we
know that she did.

ICTOR MAUREL was an assiduous and devoted correspon-
dent, who excuses his occasional candour by saying that he
reserves it for “‘ les gens que j'aime, que j'ai aimés ou que jaimerai.””
He humorously deplores the perversity of his pupils, who seemed
always to need his ministrations most when he was on the point
of departing for America. ‘“ Monde idiot, monde crétin, vil
monde |’? was how he felt about it. In a less philosophic mood
he sends some tickets for his Queen’s Hall recital in 1907, “ comme
il nous faut absolument un bis trés chaud.”’

Despite that ‘* Moi, je suis tenu comme un forgat,”” and seldom had
a free moment, he could always find time to write long and cordial
letters to friends—a fact that might be noted by our breathless
contemporaries who have scarcely time to be coherent even on
the telephone.

Mario Ancona was a warm and courteous correspondent, and
a pleasant and agreeable personality. His handwriting varied
from the microscopic to the sprawling ; and of special interest is
a reference to the Waldorf season of 1905, in which he tells that
** Au Waldorf j’ai fini . . . j’en avais assez. On continua a annoncer mon
nom mais mon contrat est fini!’? Well do I remember the unhappy
time when the principals fled from that unlucky house, their
places being eked out by their less independent juniors. Too
many stars, too small a theatre, and too few supporters. Let us

36 The GRAMOPHONE

reflect that in 1905 this small house, now the Strand, was poorly
filled even with such attractions as Duse, de Lucia, Arimondi,
Emma Nevada, Alice Nielsen, Ancona, A. Pini-Corsi, Angelini-
Fornari, and others I have forgotten. Even with Covent Garden
in full blast, as it was, I venture to think we could do better than
that nowadays—possibly because we are less pampered and spoilt
by excess of talent.

Melba wasted no ink on preliminaries, and used no unnecessary
words. She was one of the few who addressed Mme. d’Hardelot
as “Guy.” Writing from Philadelphia she says she has sung
Three Green Bonnets everywhere, ‘‘ but the critics have christened
it Dorothy May, which is tiresome.”’ In amusing contrast is her
first letter to *‘ Dear Miss d’Hardelot,” in which she accepts with
her best thanks her correspondent’s charming song Sans foi, and
asks her very sweetly to come round and sing it to her. Very few
of all this collection of letters are dated, but I do not gather that
this politely formal method of address lasted long, for we find
** My dear Madame Guy,” just before rushing off on an Italian
tour, and feeling very fussy because she is learning two new réles.
I think it is possible to identify the first in which “* My dear Guy ”
appears, written in bed, “ with a beastly cold . . . and feeling
miserable.” ‘This was before the news of the postponement of
Edward VII’s coronation, the reference to which is part of an
ejaculatory letter concerning some unfortunate who seemed to
have put his foot in it rather badly : ‘“* What a devil, he wants a
thrashing. I hope you snubbed him.” If Melba was a bad enemy
she was a good friend, and I wish they could leave her alone.

Among the earliest in this “ Guy d’Hardelot Collection ”’ I
found some charming and delightful letters from Alfredo Piatti,
the great ’cellist and associate of Joachim. That he valued his
warm friendship for “‘ Miss Helen ” and her sister is evident in
all of them, although we may judge that the young ladies
exercised their perogatives from time to time. “‘ . . . you are a very
great dear,” he wrote, “ but as I suppose you are like the rest of
your sex, very capricious, I am afraid I shall not have the pleasure
of seeing you if I appoint next Monday any time before twelve.
Hoping to be wrong as usual, Believe me,”’ &c. These letters are
dated 1885-6-7.

' André Messager, writing from his office at Covent Garden,
“* Ternina est malade et ne chantera pas Tosca du tout! ’’ will recall
this disappointing incident to our slightly older readers.

Paolo Tosti, Herman Bemberg, David Bispham, Kirkby
Lunn, Ella Russell, Mario Sammarco are others of the
many famous names whose letters have passed into my safe
keeping, together with a large number from equally well-known
artists who are still with us.

€ O much for the pen ; but toreturn tothe voice. The acquisition

of an early Fonotipia record by Regina Pacini of Caro Nome and
the Mirella valse has given me a pleasure in these two arias which
frankly I never expected to feel again. As recordings they are the
finest by this soprano that I have, displaying a fullness and beauty
of voice and a “ forwardness ”’ in reproduction which is startlingly
lifelike and rich in overtones. That the singer was a mature artist
besides being a skilful coloratura performer is shown in every phrase,
as she makes so light of mere technical difficulties that she has
plenty of leisure to turn her mind to the exact shaping and
colouring of her music, which she accomplishes with such mar-
vellous assurance that we are left simply amazed. Those who may
only have heard her records of, say, the Queen of Night aria, which
is poorly recorded, or her Qui la voce in Puritani which is unsym-
pathetic and introduces something suspiciously akin to an aspirated
grupetto, should suspend their judgment until they have an oppor-
tunity of hearing her in these two superb examples.

D. S. (N.W.3) may be congratulated on his good fortune in
acquiring the following little parcel, which surely is one of the
“ finds *’ of our dreams: 52064 O casto for by Scotti (1905) ;
32084 Comme une pale fleur, Hamlet, by Renaud (black label, 1901);
24061 French duet by M. and Mme. Figner (1902); 52411 La
donna é mobile, 52437 Flower Song (1903) and 52083 L’anima ho
stanca (1904) by de Lucia ; 53372 Manon Lescaut by Boninsegna
(1904) ; 53350 <abava, by Boromat (1904); and of Caruso

Fune 1936

52345 Il Sogno; 52349 E lucevan le stelle ; 52370 No, non chiuder ;
52440 Siciliana ; 52441 Non t’amo pitt ; 52419 No pit nobile; 52034
Mattinata ; 52062 La donna 2 mobile; 52191 Recondita armonia ;
52193 Brindisi and 052087 Flower Song. These are without taking
account of various other oddments which, although useful finds,
are put quite into the shade.

Half a dozen original Melbas have come to light lately, and
have found ready buyers ; also a fine copy of the very rare 1902
Celeste Aida by Caruso. Some collectors may be interested io
hear that a few Wagnerian records of about 1908 have reached
me, including long passages of Kundry’s music sung by Matzenaur
and Melanie Kurt, and Meistersinger excerpts by Kniipfer,
Kraus, Van Endert and Preusse ; also a very fine Walkiire
passage by Knéte, which, alas, I irretrievably ruined in an
attempt to correct a bad warp. Another of this batch was a brand
new, though warped, copy of the green label Meistersinger quintette,
in which Gadski’s lovely voice in the solo passage is enchanting
in its serene beauty, though the recording suffers from lack of
forwardness in reproduction.

Kno6te was not unlike Kraus in timbre and method, which is
to say that each had a powerful, steady, metallic, and very clear
utterance, hitting every note cleanly and in the middle: but
neither had the least idea of lyrical phrasing ; and opera-goers of
the pre-war period had their grumbles about “‘ these German
tenors ’’ no less than ourselves. —The utmost we hope for in these
days is some approximation to the qualities just mentioned, but
with little or no hope of hearing the lyrical Siegfrieds which
Hensel in our time and Jean de Reszke have shown to ke
possible, or the Siegmunds and Tristans of Van Dyck and Urlus.
History has shown that the best Wagnerian tenors have generally
been non-German: I often mention Hérold and John Coates,
both perfect Lohengrins; Joseph O’Mara was a beautifully
lyrical Tannhauser ; and I have heard marvellous accounts of

Mullings’s Tristan. Walter Widdop is worlds better than any

visiting German tenor since the war, and yet we have to put up °

with imported Teutons who turn our thoughts chiefly to murder.

The records by Matzenauer and Kurt are wholly admirable,
both for singing and recording ; and that wonderful and beloved
old artist Paul Kniipfer gives Pogner’s views with such point as
to make them almost pleasurable. I am afraid I am one of those
lost souls who find the Meistersinger insufferably dull, and in need
of a good fifty per cent. cut.

HE recent remarks in these notes re the claim to the title of

the world’s greatest tenor should not close without a reference
to Giacomo Lauri-Volpi, whom I have now had the pleasure
of hearing for the first time. Although he does not seem to
have bothered to devote much time to the ultra refinements of
his art, he is a true operatic tenor in the “ grand manner,”’ with
a warm, rich, and ringing voice which satisfies the ear. Compared
with those whose claims are sometimes urged in the correspon-
dence pages his voice is that of Caruso himself!

Let us hope that our critics, whether amateur or professional,
will have the courage and generosity to give Italian Opera a
square deal, for a good Aida covers a multitude of sins, and let us
hope that the Covent Garden authorities have done their part
well; at the time of writing, this is still uncertain. Although
Wagner is still in the saddle, he remains a blind alley, and when
our people are sufficiently starved of fine singing, they may regret
the vogue which has killed Bellini and well-nigh ruined Verdi.

R. ALEX McLACHLAN has again shown me the proofs of

that part of his Index covering ‘‘ Collectors’ Corner,’’ and as
usual I am quite taken by surprise by the number of names I have
used in the preceding twelve months. Even while looking over the
proofs, I found myself turning back the ‘‘ C.C.”’ file to see what
connection, if any, existing between the various references ; and
if those readers who are not already in the habit of acquiring
the Index decide to do so this year, I venture to think that they
will find a rather amusing new game in turning up references to
well-known names of the past. But woe betide those who wish
to find a reference, and have no Index!

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June I 936

Technical Talk

Seis

The GRAMOPHONE 37

WHAT IS THIS HIGH FIDELITY 2—VII

by P. WILSON
(Continued from page 533, Vol. 13)

N view of the fuss that has been made in recent years about the

necessity for an extended high note range in reproduced sounds,
| hardly need recapitulate here the arguments that have been or
may be adduced. Since some of the sounds in music have con-
stituents with frequencies extending to 16,000 cycles per second or
beyond, and since the normal range of audibility also extends to
that region, it seems fairly obvious that our reproduction may be
deficient if it stops short before those frequencies are reached.

| must confess, however, that I have listened with some positive
dissatisfaction to several reproducers whose response has extended,
or so it is claimed, to the limit of audibility. Only too often the
quality of the high notes has been metallic, or the strings have been
wiry or brittle or reminiscent rather of comb and paper than of
soft, purring gut. Indeed, it has seemed sometimes that a repro-
duction with a range at least an octave less in the treble is capable
of giving much more general satisfaction.

| am convinced, therefore, that the nature of the response in the
treble is far more important at the moment than its range beyond
about 8,000 c.p.s.

Let us therefore consider a few of the features of our apparatus
which tend to limit the useful range of reproduction at present.

So far as the electric amplifier pure and simple is concerned there
is no technical limitation to prevent the attainment of any desired
range within audibility limits. It is naturally less expensive to
design and build an amplifier with a more limited range and that
of course is what is usually done. But what is so often ignored is
that an amplifier with a practically uniform frequency response
from about 30 c.p.s. to 8,000 c.p.s. may give rise to amplitude
distortion and certainly to phase distortion, however important
the latter may be (which is doubtful), to quite a considerable
degree. Amplitude distortion in the higher reaches may not
matter so much unless a high note tweeter is used when it will
certainly give rise to rattle and metallicism. Amplitude distortion
anywhere below 2,000 c.p.s. can be very troublesome since it will
give rise to spurious harmonics.

Very often peculiar troubles of this kind, and of another which
is related to the decrement of the circuit (which is a measure of
the duration of a note), may be caused by iron-cored transformers.
This has led some folk to avoid these useful components as far as
possible and to have resistance-capacity intervalve coupling or even
direct resistance coupling. But nearly always an output trans-
former or a matching transformer is necessary, if our apparatus is
not to be tremendously inefficient, and that can do a world of
harm. On the other hand, with generously designed components
—and I have at present line transformers, intervalve transformers
and output transformers whose characteristics are flat from 20 to
20,000 c.p.s.—the regions of difficulty and compromise can be
pushed right outside the normal range of audibility ; and all my
experience tends to the conclusion that in that case transformer
coupling can be used as safely as any other form. I want specially
to emphasize, however, the importance of output and matching
transformers since most of those one comes across are too flimsy
to have place in a high quality equipment. Naturally, it is a
question of price. A satisfactory output transformer or output
choke—and one or other must be used—for some circuits may
cost as much as £4, and many people seem to expect a complete
receiver for that nowadays.

[t is not so long ago that the main limitation on range of
reproduction was in the loudspeaker. But here again, provided
one is prepared to pay the price, it is now possible to secure an
adequate range, at any rate in the treble, without trouble from
other forms of distortion. At the bass end of the scale, as we have

seen, there are still a number of physical difficulties, but the
introduction of tweeters and like devices has brought even the
high treble within our command. Which is curious, since at one
time bass (of a sort) was so easy to obtain that we were even
specially invited to listen to it, whilst high treble of any sort
seemed particularly elusive.

Two cautions, however, must be borne in mind. The first is
that the use of a speaker with good high note response is often
the cause of a great deal of heartburning since it reveals many of
the sins of the preceding equipment to which our older speakers
were tolerant and kindly. I have personally investigated a number
of cases where a crystal tweeter was said to be faulty. In one case
the crystal was cracked, due to improper usage ; but in the others.
the fault was in the amplifier, dear Brutus.

The second caution is that even a reasonable and good high note
response may sound altogether unnatural unless there is an
adequate low bass response to balance it. And by low bass I mean
the region from 30 to 60 c.p.s., which is lower than I recollect
hearing from any loudspeaker mounted in a cabinet of the usual
form. The two extremes of the scale seem to go together: if you
are minus the one you had much better do without the other.
And this, if you think of it carefully, is one good reason why so
many gramophone fans still think so highly of the best acoustic
machines: whatever their shortcomings, they are designed, con-
structed and adjusted to have a good acoustic balance.

In my tests I have found that tympani are ruthless disclosers of
good or bad acoustic balance. I almost believe that [ could tune
a sound-box or pick-up by listening for the quality of the tympani
alone, though I have never actually tried to do it. I think the
Editor will bear me out that when we were experimenting with
sound-boxes, life-belts and horns in the old days, realistic repro-
duction of tympani was always a sure sign of something good.
Even to this day I always listen to tympani with especial care
when judging a piece of reproduction. In tuning, however, I find
it a simpler and quicker process to listen first of all to quality of
surface noise and then to accurate reproduction of one or two
voices that I know well. Instrumental music can be deceptive
but operatic records are a sure help. And curiously enough I do
not tire of hearing such records even though I use them so foully
by harnessing the artist to the help of science. But then, you see,
I am an opera fan, or as much of one as my purse will allow.

Fortunately, the considerations in regard to balance between
low bass and high treble which seem to apply here do not in any
way conflict with the conclusions we have already reached when
discussing the relation between frequency response and volume
level. On the contrary they tend to make our task easier, since
they imply that a precise adjustment of response to volume level
is not essential. All that is required is a response curve of the
right sort of shape—i.e., one with either a hump or a trough in
the middle register according to the circumstances. ‘This con-
clusion is readily verified in practice with the simplest of apparatus.

The circumstances are far less propitious in the case of the
limitations imposed upon our range of reproduction by the nature
of the imput to our apparatus. In the case of records there is
always the difficulty of surface noise and more than that, there
is with our present type of recording the difficulties of designing
a pick-up to give a really satisfactory high note response above
about 5,000 c.p.s. and of getting such a pick-up to track in a
lateral cut record groove. In the case of radio there is the appalling
problem of interference.

What prospects are there of solving these problems ? Not
many, I fear.

38 The GRAMOPHONE

June 1936

TECHNICAL REPORTS

The H.M.V. All-Wave Autoradiogram, Model 485
Price 36 guineas

Specification.
H.F. Amplifier :— Marconi VMP4G valve.
Frequency Changer :— Marconi X41 valve.
IF. Amplifier :—Marconi VMP4G valve.
Second Detector and L.F. :—Marconi MHD4 valve.
L.F. Coupling :—R.C.C.
Power Stage :— Marconi N41 valve.
Power Output :—3 watts (approx.).
Rectifier :— Marconi U2 valve.
Speaker :—Electro-Magnet M.C.
Pick-up :—Electro- Magnetic.
Motor :—Induction.
Wave Ranges :—16.7-51 ; 46-140 ; 185-560 and 750-2,200
metres.
Voltage Range :—200-—250 A.C. ; 50-100 cycles.
Total Consumption :—110 watts (approx.).
A.V.C., Automatic Record Changer, Independent Controls for
Treble and Bass and Provision for Auxiliary Speaker.

Here is the radio-
gram counterpart of
the H.M.V. All-Wave
receiver, model 480.
Our tests of the instru-
ment have confirmed
our opinions of the 480
which we expressed in
the March, 1936 issue
of THE GRAMOPHONE.

Allowing for the
vagaries of radio recep-
tion on the short wave-
bands (one can never
be sure of receiving the
really distant stations at
any predetermined time
owing to changes in
atmospherical con-
ditions) the perform-
ance of this 485 is
almost identical with
that of the 480. In
course of our travels
on the short waves we
heard with clarity and
at programme volume
strengths many of the
principal short - wave
stations in the U.S.A. as well as some further afield—South
America, South Africa, and Australia, for example.

One or two of them faded out on us (there is no known cure for
deep fading) despite the compensating action of the A.V.C.
circuit, but the majority of short-wave broadcasts emanating from
countries nearer home were held at reasonably uniform strengths.
One could gauge, pretty well, the high efficiency of the A.V.C. by
the rise and fall of the background noise-to-music ratio.

On the normal broadcast wavebands too, the high A.V.C.
efficiency was manifest: practically every one of the forty-odd
stations we heard stayed put over comparatively long periods.
Some of the more powerful transmitters came through with a
quality approaching that of a local station and volume level. And
as we intimated in our report on the 480, the instrument can be
adjusted to give a tonal balance that is indeed outstanding for a
‘superhet. We say “can be adjusted ”’ advisedly, since the

The H.M.V. All-Wave
Radiogram

incorporation of both treble and bass attenuators permit fine
tonal shades to be obtained. Our particular preference in the

majority of cases was for not quite maximum bass and about
80 per cent. of the available high note range. Naturally it is
impossible for us to dogmatize on the relative settings of the bass
and treble controls, for different stations, and even different
studios from which the broadcast emanates and different recep-
tion conditions, such as the acoustic properties of the room in
which the instrument is operating, all have some effect on the
ultimate reproduction.

When reproducing gramophone records, too, the room
acoustics, the type of needle used and the particular recording
being played all have effect on the quality. Thus, for example,
when using say the H.M.V. High Fidelity needle the treble control
is not advanced so far as when using a Burmese Colour or a
Universal (non-metallic) needle. The main thing, however, is the
fact that this separate control of treble and bass gives an added
flexibility to the instrument which is really valuable.

At any rate, we found it so. One could always find adjustments
appropriate to the particular recording or broadcast with complete
satisfaction. ,

We could give an equally long and praiseworthy account of the
mechanical details and the general finish of this 485 radiogram ;
but that would be superfluous. It is enough for us to say that these
are well in keeping with an instrument of this genre and per-
formance.

The Brunswick All-Wave Receiver, Model BTA/I
Price 18 guineas
Specification.
H.F.. Stage :—Brimar 9 D2 valve.
Frequency Changer :—Brimar 15D1 valve
First I.F. Amplifier :—Brimar 9 D2 valve.
Second I.F. Amplifier :—Brimar 9 D2 valve
Second Detector :—Mullard 2D13C valve.
L.F. Coupling :—R.C.C.
Power Stage :—Brimar 7 D8 valve.
Power Output :—3.5 watts (approx.).
Rectifier :— Mullard IW3, valve.
Loudspeaker :—Electro- Magnet M.C.
Speaker Coupling :—Transformer.
Wave Ranges :—-16-49, 180-550 and 1,000-2,000 metres.
Voltage Range :—-200-250 A.C. ; 40-60 cycles.
Consumption :—70 watts (abprox.).
Tone Control, Sensitivity Control, Provision for Doublet Aerial,
A.V.C. and Provision for Pick-up and Auxiliary Speaker.

There is one very
striking feature about
all the all-wave
receivers that have
so far passed through
our hands —they
show a distinct
improvement as
regards quality of
reproduction and,
incidentally, so are
the cabinets which
house them improved
structurally and in
design. Whether the
two are inter-related
or not one. cannot be
quite sure, but it is,
of course, quite
feasible that the new
designs have some
effect. We are
inclined to the

The Brunswick BTA/t

it is
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June 1936

opinion, however, that both receiver and speaker design contribute
important quotas to this “ new ”’ reproduction.

In nearly all cases the bass has been cleaned up and the treble
has been strengthened and extended in range.

So, too, we find the good work carried on in this new Brunswick
all-wave receiver. There is bass in plenty, not too much and not
oppressive ; the lower middle frequencies (once the most forward
register in the majority of receivers) is well under control and the
range and strength of the treble register is adequate to produce an
equable balance of tone. When listening to the home transmissions
maximum treble is, in the majority of cases, essential to produce
this effect, but there are certain occasions when a reduction of
high notes, by means of the tone control, is more appropriate.
Definition is maintained up to quite large volume levels and only
when almost the full power available is used
are there any appreciable signs of cabinet
colouration. We feel sure that the type of
cabinet employed—both the sides and back
are left acoustically open as well as part of the
front—has something to do with this limiting
of wood resonance. At normal volume levels
the ear cannot detect any ill-effect and it
takes a large ensemble of instrumentalists to
reveal appreciable vibration to the touch.

Other stations on the medium and long
wavebands, and dozens are within range,
demand varying degrees of tone control
adjustment ; when receiving those of com-
paratively low power and consequently using
the full magnification of the pre-detector
stages it is better to compromise on quality
by reducing high notes a little in order to
subdue background noises. On the other
hand the high power foreigners demand of
no compromise and can be received almost
as well as London National or Regional.

On the short waveband results are variable as always ; but the
efficiency of the receiver is such that there are always some trans-
missions of interest within range to which conditions are favourable.
At different times we heard Africa, a few of the American stations
—Pittsburgh, Schenectady,&c.—and many European short-wavers
as well as the enthusiastic amateurs. Naturally some were prone
to deep fading and none were as clean and free from interference
as stations on the other wave bands, but all were reproduced with
reasonable quality.

Great care seems to have been taken in the mechanical design
to ensure permanent alignment of the tuning circuits, and other
mechanical details such as vernier tuning, the large open and
individually lighted tuning scales have been well chosen.

Altogether the most efficient receiver we have had from Brixton

Road.
The Marconiphone 239 Radiogram
Specification.

Frequency Changer :— Marconi M X40 valve.

1.F. Amplifier :—Marconti VMP4G valve.

Second Detector :—Marconi D41 valve.

L.F. Stage :— Marconi MH¢4 valve.

L.F. Coupling :—R.C.C.

Power Stage :—Marconi MPT 4 valve.

Power Output :—2} watts (approx.).

Rectifier :— Marconi U12 valve.

Loudspeaker :—Electro- Magnet M.C. with Eliptical Diaphragm.

Speaker Coupling :— Transformer.

Motor :—JInduction.

Pick-up :—Electro- Magnetic.

Wave Range :—200—550 and 1,000—2,000 metres.

Voltage Range :—200-250 A.C. ; 50-60 cycles.

Total Consumption :—85 watts (approx.).

Mains Aerial, A.V.C., Hum Control, Silent Tuning Switch, Tone
Control, Visual Tuning Indicator and Provision for Low
Impedance Auxiliary Speaker.

Price 22 guineas

The Marconiphone 239 Radiogram

The GRAMOPHONE 39

In common with the Marconiphone 219 receiver this com-
paratively new radiogram (a later model essentially similar but
fitted with an automatic record changer was produced on May rst,
1936) incorporates many mechanical and electrical refinements
such as have never been seen in previous Marconiphone instru-
ments of this type and price.

On the mechanical side one notes for a start the more satis-
factory position of the speaker—high as possible from the floor ;
the speaker itself is of entirely new design with an elliptical
diaphragm for more adequate diffusion ; and there is a new large
full vision tuning dial illuminated and traversed by light spots
according to the waveband to which the instrument is set, green
for the medium waveband and red for the long waveband.

Electrical improvements include a visual tuning indicator, a
silent tuning arrangement which can be
switched in or out of circuit at will to ensure
an absolute minimum of background noise
between stations, and also an electrical
indication, by a small translucent panel, of
the waveband and gramophone positions of
the change-over switch. Here again the
wavebands are indicated by green and red
for the medium and long waves respectively.
So much for the obvious modifications.

Manipulating and listening to the instru-
ment at once confirms their practical utility,
and also reveals one other, and perhaps the
prime feature—the appreciable improvement
in the quality and general balance of tone
which has been effected. We are convinced
that no other Marconiphone model of this
type has exhibited quite so clean and well-
balanced tone. The indefinite thump in the
lower regions has gone and the treble has
benefited accordingly in that the masking
effect and the sense of oppression which
excessive reverberation of the lower frequencies tend to produce
are non-existent. It seems, too, that the frequency range in the treble
has been extended, so much so that there is a little in excess of
what one normally needs. The full brilliance of the three-position
tone control is apt to produce a rather brittle tone in certain
circumstances but this is very useful when using non-metallic
needles or when listening to some mediocre transmissions from
abroad. For local station listening and when using steel needles
the mid-point of the tone control is productive of the nicest
balance and quality.

The effectiveness of the radio circuit is about the same as in the
219 receiver. For those who are content to receive the locals and,
say, seven or eight foreigners the mains aerial and an earth will
suffice. A good outside aerial, however, produces a much larger
crop of stations and of course at relatively larger volume levels.
When tuning from one station to another the silent tuning
arrangement will be found very effective in reducing the noise
level: there is almost complete silence until the correct tuning
point of a given station has been found, and then the transmission
comes in in the normal way.

The Auto Radiogram, model 249, mentioned earlier in this
report, costs 29 guineas.

Price 2s. for 10

The quest for a non-metallic needle that will stand up surely
to the mechanical movement of an automatic record changer has
been long and somewhat tiresome. Some of the treated round-
shank fibres and one or two sample round “ thorn ”’ type needles
have partly succeeded in resisting the comparatively rough treat-
ment of auto-mechanisms, but one could never be sure at the next
record changing cycle whether the fragile needle point would
remain intact or not.

In our report on the Universal needles in the April issue we
commented on the valiant resistance put up by the “ Pick-up
Special ” needles, but none of the samples we tried would stand

A New “ Universal ’’ Needle for Pick-ups

40 The GRAMOPHONE

up to the full capacity of the record changer employed—.e., eight
records.

Four of these new Universals not only survived the tortuous
path of eight twelve-inch discs of average recording but also with-
stood half a dozen quick changes in which only the first few
grooves of each record were played. Six needles were used in the
tests: five have been accounted for, but what of the sixth ? This
one negotiated the changing operation but succumbed to a
sforzando passage in the last side of Weber’s Concertstiick (Col.
LX471). It didn’t require a microscope or even a single lens to
determine what had happened here. It was clear to the naked eye
that about one thirty-second of an inch of the needle had snapped
off at the point end. Possibly the toughening process to which
the needles are subjected had turned the material brittle.

We mention this not in any derogatory spirit
but just as a warning that one may come across
a doubtful specimen from time to time.

Upon resharpening, this particular needle
turned out to be quite as successful as the
previous five and traversed comfortably through
the side which had earlier placed it hors de
combat.

The H.M.V. automatic record changer with
electro-magnetic pick-up was used in these play-
ing tests. Actually they were carried out on the
model 485 reviewed in this issue.

Compared with the Pick-up Special Universal
needles one can detect a slight hardening of the
strings and the treble in general when using
these new needles, but it is not readily distin-
guished. The surface noise-to-music ratio also
increases a little. Otherwise they possess similar
characteristics, excellent definition and suavity
of tone, and, of course, a minimum of record
wear.

These needles are identified by their coats of
grey ; the remainder of the Universal family are
dyed black.

The Murphy A30RG Radio-Gramophone Price £24
Specification.

Frequency Changer :—-Mazda AC/T P valve.

I.F. Amplifier :—Mazda AC/TP valve.

Detector and Power Stage :—Mazda AC2/Pen. D.D. valve.

Power Output :—3 watts (approx.).

L.F. Coupling :-—R.C.C.

Rectifier :—Mazda UU3 valve.

Loudspeaker :—Electro- Magnet M.C.

Speaker Coupling :—Transformer.

Pick-up :—Needle Armature.

Motor :—Synchronous.

Wave Range :—200—500 and 900—2,000 metres.

Voltage Range :—100—120 and 200-250 A.C. ; 50 cycles.

Total Consumption :—75 watts (approx.).

Tone Control, A.V.C. and Sockets for Auxiliary Low Impedance

Speaker.

In schematic circuit arrangement this radiogram, the first of

the new Murphy instruments we have had, follows closely on the
lines of those adopted in the A26 radiogram reviewed in May, 1935.
One or two minor modifications, based on experience gained
with the A26 chassis have been effected, but we need not go into
those here.

Outwardly, the only change is in the design of the cabinet,
which, as the illustration shows, still maintains the unconventional
lines so typically “* Murphy.”

chamber by progressively tapering the sides towards the bottom.

(Readers will remember that in the A26 the speaker compartment
was kept as shallow from back to front as the dimensions of the

The New Murphy
Radiogram

An attempt has been made to
improve still further the acoustic properties of the loudspeaker

June 1936

speaker and the esthetic design of the cabinet would allow for,
and in addition the compartment was damped down by a lining
of fibre board.) A similar procedure is also adopted in the Ago,

Since we do not happen to have an A26 in the London office
for purposes of comparison it is difficult for us to form an opinion
of the comparative merit of this modification, but one need only
listen to a broadcast symphony orchestra or a dance band playing
double-forte movements to ascertain its efficacy. Even when the
full output is being used in such circumstances there is little
evidence of wood or cavity resonance colouration: the treble
hardens somewhat but it retains the clean decisive tone so
characteristic in Murphy instruments, and lower down the scale
definition suffers but little. The hardening of the treble at large
volume is not so appreciable on radio as when playing records,
and in most cases an appropriate adjustment of
the tone-control greatly minimises the effect
without drastic attenuation of the high notes.

At normal volume few folks will need to use
the instrument with the tone-control full out
when playing records except, perhaps, when
using non-metallic needles. (Note: these will
perforce have to be used in conjunction with a
small metal sheath, such as is supplied with
Burmese Colour needles, in order to provide a
magnetic path for the flux to flow since the
pick-up fitted is of the needle armature type) ;
but the extra brilliance available is particularly
useful in retaining forwardness of tone when
reproducing music quietly or when the volume
control is turned down so as to reduce the
intensity of the speaking voice to its natural
level.

As a station getter the Ago should completely
satisfy the majority of people ; all the principal
European broadcasts can be heard with an
aerial and earth system of average efficiency.
Moreover there is little tendency for any of
them to fade, and thanks to an effective circuit
arrangement there is no obtrusive interference,

In common with other Murphy instruments the mechanical
arrangements and general finish are beyond reproach.

McMichael

The McMichael range of instruments has been augmented by
the addition of two more receivers. One A.C. operated superhet
of the table type (Model 361) and the other is a suitcase portable
receiver incorporating a four-valve “ straight ”’ circuit feeding a
moving-coil speaker. Their respective prices are £11 7s. 6d,
and £8 18s. 6d.

Some months ago we promised a review of the new
McMichael radiogram: we are still waiting for the supply
to get ahead of the demand. When that happens our promise
will be fulfilled !

NEEDLES THAT DO NOT INJURE THE RECORD
BEST FOR RADIOGRAMS

There are no needles quite as good as B.C.N.’s

Round, Non-Metallic Gramophone Needles.
Electric Pick-up, Acoustic and New Emerald
Full-Tone Needles, 2s. per packet.
Packets of Radio and Emerald containing
two Steel Caps for use with Needle Armature
** Pick-ups,” 2s, per packet.

We musiciorenswe®™ THE POPULAR B.C.N.
NEEDLE SHARPENER - 3s. 6d. each

Trade Terms. Showcards and leaflets supplied through any
Wholesale House or by
Telephone

Teleph
CROyden sce THE B.C.N. COMPANY croyien’” 606s

WADDON FACTORY ESTATE, STAFFORD ROAD, CROYDON

June

1936

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June 1936

The GRAMOPHONE

If you wish to enjoy a symphony or quartet, without the distraction of
changing records, this latest Marconi autoradiogram is your instrument ....
if you wish to glance at your paper and then secure a perfect rendering of
an opera from abroad with the minimum of trouble in tuning and adjusting,
here again is your instrument . . . . if you want to be able to say you have
the REAL thing in RADIO, Marconi is your only choice. This
magnificent Marconi superhet autoradiogram model 249 costs only
99 gns. Write for full particulars to the Marconiphone Company
Ltd., Radio House, 210 Tottenham Court Road, London, W.1.

ye ie

ie ot Tee

&

With acknowledgements to B.1.P. Lid.

The MELTROPE
TRACKING UNIT

—a really practical instrument for
home recording. Adaptable to any
good Radiogram or Gramophone
May we send you our latest PRICE

leaflet explaining fully the
method of assembly, etc. ? 12/ 6

AMPLIFIERS LE

I BILLET RD., WALTHAMSTOW, E.17

TELEPHONE: LARKSWOOD 2244

VOLBDEN PYRAMID

RABIOWRA

NEEDLES

Your records are worthy of
good Needles. Only ‘Golden
Pyramid” Needles will give
you perfect reproduction.
Sensibly packed, too! Simply
tilt the pyramid and there’s
your needle.

Used and recommended by
Mr. Christopher Stone. Ask
your dealer for details.

PER 10
PYRAMID 1/6 NEEDLES
Each Needle plays several records.
THE BRITISH NEEDLE CO. LTD., Argosy Works, Redditch
PRA EMER ERASE LTR OTE AT LAL AERTS A MG RR

The GRAMOPHONE

ER AR SETA NRE LEONE A EE ERRNO ET 2. 5 ne
“THE ARISTOCRAT OF NEEDLES”

high-grade instrument available.

TO ‘THE GRAMOPHONE’ AMATEUR
READERS

Our new loose-leaf catalogue is an expensive
publication and is not intended for broadcast
distribution, We shall be pleased, however, to
forward a copy to interested readers of ‘ The
Gramophone’ on receipt of P.O. for 1/6,
which sum will entitle you to new technical
data sheets which will be published from time
to time.

Rothermel House, NRSC RNC

Canterbury Road, High Road, Kilburn, N.W.6.
’Phone: Maida Vale 6066.

corner of the
earth

MODEL DIO4
PiEzo-ELECTRIC
MICROPHONE

The most Popular
Instrument Available

Whether for Public Address equipment, Relay or Amateur
Transmitter use the Rothermel-Brush D104 piezo-electric
microphone is certainly the most popular general purpose
It requires no button
current or polarizing voltage and because of its high-
impedance it may be connected directly to the input grid
without the use of transformers. The frequency response
up to 8,000 cycles is superior to instruments of the carbon

variety and from the
view points of clarity
and sensitivity the
piezo-electric micro-
phone has no equal.

MODEL D104 com-
plete with 6 feet
shielded micro-
phone cable £5.17.6

MODEL D104 HS
hand type with
built-in switch in
handle £6.6.0

AMERICA’S FINEST
RECORD SHOP

On our shelves are to be
found the most amazing
collection of records
which we gather from
practically every

THE GRAMOPHONE SHOP INC.
18 EAST FORTY-EIGHTH STREET
NEW YORK :: NEW YORK, U.S.A.

IMPORTING AND EXPORTING A SPECIALITY

June 193%

Tra

T :

June 1936

Trade Winds and Idle Zephyrs

tl

The GRAMOPHONE 4]

THINGS TO ‘COME

T seems unlikely that the manufacturers will have anything left

up their one-time capacious sleeves by the time the Radio
Exhibition rolls round in August. At least little in the way of new
reccivers, radiograms, loudspeakers, or pick-ups. Every week that
passes sees the launching of some new instrument.

Whether or not there will be any important developments in
the field of Television remains to be seen. At the time of writing
the horizon is still clear.

Edison Swan Electric

So consistent and so popular has the original B.T.H. Minor
pick-up proved that not until quite recently has it been supplanted
by a new and, it is claimed, improved model. And when one
considers that the old pick-up has held its position in the inexpen-
sive class for five years—well, that tells its own story.

The new pick-up is somewhat similar in design and it costs less
—1i7s. 6d. to be precise—but more than this we cannot say until
suc! time as when we have an opportunity to examine and try
it out for ourselves.

H.M.V.

The newest H.M.V. recruit was enrolled on May r1th. Itisa

sturdy, well-dressed and well-groomed little model which boasts a

five-valve (rectifier excluded) superhet circuit capable of picking up
a fair number of alternative programmes under normal conditions.

It is fitted with the usual amenities—tone control, pick-up
sockets, provision for an extension loud speaker, &c.—and has an
undistorted output of approximately 2 watts. And all this for
II cuineas!

Piezo Devices

There still seems to be some doubt in the minds of some readers
about the stability and reliability of piezo-electric devices—pick-
ups, tweeter speakers, &c. Apparently one or two people have
had trouble with extraneous noises and in some cases with a com-
plete failure to function. The cause is what ? They ask.

Of course, we cannot diagnose the trouble until we know the
precise conditions under which the instruments are being used.
The most likely causes of trouble are an amplifier giving amplitude
distortion, or careless handling. But if a Rothermel-Brush piezo
tweeter speaker is mounted directly on the same baffle as a moving
coil speaker then it is possible that behind the music or speech
will be heard a buzz or other alien sound. The reason for this was
explained in an article published in the May, 1935, issue. The
cure is complete insulation of the tweeter from the baffle.

Similarly it is always wise to adopt the same precautions when
mounting a pick-up. Don’t forget that Rochelle salt is sensitive
to both mechanical motion and electronic current. That is one
reason why in the Rothermel-Brush de luxe pick-up the piezo
cartridge is isolated from the carrying arm.

The nature of one or two recent queries suggests that the
tweeter or pick-up has been dropped or, maybe, mishandled in
transit ; at any rate the symptoms described seem to indicate a
fractured crystal element and that is what would happen in such
circumstances. The dropping of a piezo pick-up head on to a
record is sufficient to cause irreparable damage and more readily
ifa needle happens to be in position at the time. One golden rule
to adopt with a piezo pick-up is: never leave a needle in the
socket—-someone may inadvertently drop the pick-up head in the
course of their domestic duties. Admittedly piezo crystals are
fragile, so are mica or aluminium sound-box diaphragms, and
for that matter so is almost any scientific instrument.

If it is of any solace for those who have written to us to know,
we have used both piezo-electric pick-ups and tweeters for some
considerable time without a trace of extraneous noise or other
trouble. But we practice what we preach !

Marconiphone

One of the newest contenders in the inexpensive receiver
market is the Marconiphone model 209 which costs 11 guineas.

The circuit follows the almost conventional lines of frequency
changer, a single I.F. stage, a separate diode for detection and
A.V.C,, and an L.F. amplifier resistance-capacity coupled to a
power pentode which is capable of feeding about 2 watts (A.C.)
to an electro-magnet speaker. In addition the chassis incorporates
an efficient image rejection circuit as well as being fitted with a
mains aerial device and auxiliary loudspeaker and pick-up sockets.

The Simpson Turntable

For the umpteenth time there is another revival of interest in
home, or personal recording. This time, however, the manu-
facturers of this type of equipment are proceeding on more
generous designs. We reviewed one splendid example—the
Parmeko—last month, and now we hear the Kingsway Radio
Ltd. are shortly to produce a heavy duty model of the Simpson
Turntable for recording purposes.

The new motor is designed on similar lines to its predecessor
and will have a very much higher torque so that there will be
ample power margin for the recording of almost every type of
recording surface.

Book Review

The New Acoustics
By N. W. McLACHLAN, D.Sc., M.1.E.E.
(Oxford University Press, 7s. 6d. net.)

NE of the first questions one asks oneself when reviewing a

new technical work is: For what type of reader is the book
intended ? The answer to this question given by the author in
the present instance is particularly ambitious ; for the book is
described in the Preface as a “‘ non-mathematical résumé of the
main lines of practical development . . . (of acoustical science),
which might be of interest to scientists, engineers, and general
readers.”’

The present reviewer hesitates to classify himself in any par-
ticular with one of these categories. Of one thing, however, he
is in no doubt: to write a book which shall at once satisfy the
demands of all three types is a well-nigh superhuman task.
Certainly, with the best will in the world to be generous, he has
been forced to the conclusion that from this point of view the
attempt must be set down as a failure.

For the man of science or the engineer, there is too much
padding of a kind which might be expected in a magazine article
intended for the general reader. On the other hand, probably the
greater part of the book will be unintelligible to those who are
not already familiar with the subject, and the language.

This is perhaps the more unfortunate in that there probably is
room for an up-to-date reference work written specifically for
folk who are well acquainted with some of the modern applica-
tions of acoustical science, and understand the general methods
and nomenclature, and who would like to learn something more
about applications in other directions. But, alas, by the very
scheme of the book so much of the 160 pages of print and illustra-
tion is perforce taken up with inadequate explanations of funda-
mental principles for the benefit of the general reader, that the
treatment of each section is too sketchy to be of much value. For
the field to be covered is really a very vast one, as may be seen
at once from the chapter headings: The Old Acoustics ; The
Old Classical Theory ; The New Acoustics: Anti-submarine

devices ; The Arrival of Broadcasting ; Loud Speaker Develop-
ment ; Microphone Developments ; Development of Horn Loud
Speakers ; Loud Speakers for the Home; The Old and New
Gramophones ; Talking Pictures.or Sound Films; Accurate
Measurement of Frequency ; Analysis of Sounds ; Behaviour of
Auditorium Acoustics: Reverberation ;
P. W.

the Ear; Deaf-Aids ;
Measurement of Sound-Absorption Coefficients.

42 The GRAMOPHONE

June 1936

CORRESPONDENCE AND GRAMOPHONE SOCIETY REPORTS

De Gustibus Non Est Disputandum.
[All letters and manuscripts should be written on one side only of the paper and should be addressed to the Editor, THz GRAMOPHONE,

10a Soho Square, London, W.1.
answer or the return of the manuscript is desired.

The writer’s full name and address must be given.
The Editor wishes to emphasize the obvious fact that the publication of letters

A stamped envelope must be enclosed if an

does not imply his agreement with the views expressed by coryespondents.|

Spring Idyll
To the Editor of ‘THE GRAMOPHONE.

Apropos of nothing at all, one of my most delightful memories
is of a trip by rail from London up to Glasgow one Sunday
morning in April, last year. Everything was as perfect as I could
wish. I was in England for the first time since leaving for America
when very young. The day was lovely, not too warm, and the
countryside was ravishingly beautiful. All the charm and fresh-
ness of the English countryside was well up to expectations.

I had with me the perfect companion, THE GRAMOPHONE for
April. If I am correct, ““ W. R. A.” reviewed Adrian Boult’s
performance with the B.B.C. of Schubert’s C major Symphony,
which has always been one of my favourites.

Since I had left London before noon I had all day to travel
through England. Casually it would rain—a quiet peaceful rain
—and when it would stop, everything would seem that much
brighter. Sometime in the afternoon I had tea with my Gramo-
phone.

Have I managed to convey that this was an idyllic experience ?
I assure you that for me it certainly was.

Cleveland, Ohio. SAMUEL HANDELMAN.

The Future of Romanticism
To the Editor of THe GRAMOPHONE.

Mr. Wallis asks me what is “a perfectly true record ” and,
judging from the jury he has selected, he evidently still regards
the question as one of aesthetics and therefore subject to “ the
variability of human opinion.”’ In my view it is one of informed
and critical judgment, and on this basis would suggest the
following as a fair elementary test. Take one or two people with
proven knowledge of acoustics and instrumental tone, and play
to them some solo passage on an orchestral record, or one of the
specimens on the record of “‘ Instruments of the Orchestra.” If
the instrument selected was, say, the violin, and they all guessed
right, it would be some evidence that there was not much wrong
with the recording. If, on the other hand, one thought it was the
flute and another the oboe, I would say that, however beautiful
it might be as sound, it was useless as “ recording.”

Purley. LIONEL GILMAN.

The Gramophile’s Lament
To the Editor of THe GRAMOPHONE.

I appreciate the restrained and good-natured manner in which,
on p. 521, your correspondent Mr. L. H. Goldrei frames his
comments on my letter published under the above heading in the
April issue, and although at the end he, in effect, gently chides
me for not tolerating other people’s views and suggests that I am
missing a lot of pleasure by not adopting a more complacent
attitude towards jazz and similar music, I remain, I fear, as
recalcitrant as ever.

I find it hard to tolerate flippancy in any sphere, and particularly
so where music is concerned. My whole yearning is for the

ennoblement of what, to me, is the greatest of all the arts, and I
am filled with the strongest resentment against anything which,
rightly or wrongly, tends, in my opinion, to desecrate that art.
As one who finds his greatest joy in the works of the great
‘masters, with a special leaning toward those of the eminent
Church composers, but who, for all that, can appreciate to the
full the lighter works so long as they bear the hall-mark of

authority on melodic and harmonic grounds, how can I find it in
myself to listen to, let alone appreciate, the outpourings of the
modern jazz, swing, hot rhythm, &c. writers ? No, it is quite
impossible, and I am almost prepared to go to the length of
agreeing with a well-known Doctor of Music who replied, when
asked his views on such stuff, that to listen to it would, to him, be
** almost as bad as having teeth drawn without gas in the middle
of a particularly bad bilious attack.”

I am only one of many thousands who feel the most profound
gratitude for the lives and work of the musical giants—Bach,
Handel, Wagner, Brahms, Mozart, and all the others, the results
of whose monumental genius and labours live on and on for all
time in never-perishing glory: whilst the puny efforts of ‘he
creators of jazz, &c., are of the “‘ here to-day and gone to-morrow ”
order, there being nothing in the best of them that could possi>ly
be expected to endure even among their own most keen supporters
who probably find nothing to complain about in the transitory
nature of that which they so greatly and for the moment enjoy.

Thanks all the same, Mr. Goldrei.

Chalfont St. Giles.
[The Lament is closed.—Eb. |

Cuas. S. LAKE

Bernard van Dieren
To the Editor of THe GRAMOPHONE.

The death of Bernard van Dieren is lamented by all those who
knew him, for not only was he one of the most lovable human
beings one could meet, but also because he possessed one of the
finest brains of our time: he could discuss any subject with a
knowledge and an originality which confounded even the
** specialist ’’ ; the best doctors who attended him during his long
illness could not tell him of something new to try, for he could
always reason out the result of any treatment before it was tried!

But it is as a composer of music that we admired and loved him,
and it is because his death again proves the lamentable lack of
foresight and artistic knowledge amongst the gramophone com-
panies that I write to you to-day in the hope that something may
be done to alter the present state of affairs. Of course we ought to
have had some records of his works made during his lifetime and
under his supervision, so that future generations of musicians
would have had some authoritative reproductions of his com-
positions to listen to and work from.

Since the gramophone started we have heard almost daily:
‘*“ what a marvellous thing it would be if only we could have
records of someone like Chopin playing his own compositions,”
and yet we have gramophone companies who all pretend to do
artistic work, but little is done to give mankind the real benefit
of science—1.e., to help the artists in their work.

It took me four years to persuade the gramophone companies
to record Purcell’s immortal Fantasies. Even then I had to
guarantee half the expenses of production before they made up
their minds. The Editors of THE GRAMOPHONE were the only
people connected with the gramophone who believed me ten
years ago !

The case of Alban Berg could also illustrate what I try to prove.
I do not think there was any recording of the great Viennese
composer’s works made during his lifetime, and now it is too late.
But at least let us have a few done while those who worked with the
composers are still alive. For instance, let us have Brosa playing
van Dieren’s Suite for violin alone, and let us have some of his
immortal songs sung by John Goss. Let us have all the possible

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orchestral works conducted by Constant Lambert and the piano
variations played by Mrs. van Dieren.

| know what will be said by all my friends in the gramophone
companies when they read this letter: ‘‘ Who is going to buy
these records?” or “ Who is going to pay to have them

recorded ?”’ But J say why not come to an understanding
between the big gramophone companies and create a sort of
central bureau for recording works which appeal only to a
minority at present but will appeal to the thousands in a few years
(think of Debussy’s example).

Each company could contribute so much to the common fund
for the making of the records, and I should be surprised if in ten
years’ time this idea has not become a good business proposition ;
but knowledge and foresight are essential to make a success of it.

London, S.W. ANDRE MANGEOT.

Cosi fan Tutte
To the Editor of THE GRAMOPHONE.

| was surprised to see in the May Editorial a remark which
implied that Cost fan Tutte was revived at Glyndebourne for
the first time in England since a production at the Court Theatre
eight years ago. I should like to point out that this opera was
beautifully performed by the Vic-Wells Company in 1932 or 1933,
with Joan Cross as an ideal Fiordiligi, Winifred Kennard as
Dorabella, Nora Sabini as Despina, Henry Wendon and Sumner
Austin as the two lovers, and Arnold Matters as Don Alfonso.
Incidentally, I believe this was the first appearance at Sadler’s
Wells of Arnold Matters, who recently put up such a splendid
performance as Falstaff.

And as for Mr. Walter Legge’s statement that “ it has been left
to Glyndebourne to open the ears, eyes and hearts of the British
public to Cost fan Tutte,’ I can’t help feeling, with all due
respect to the Mozart Festival, that it is far too exclusive by reason
of its location and its high prices to open the ears and hearts of
any but a fortunate few, although the British public may have its
eyes opened by the press notices.

Finally, I would suggest that, by way of making amends, the
Mozart Society records a complete performance of The Magic

Flute by the Vic-Wells Opera Company !
London, N.W.8. SyYLv1A BARRETT.

{Another reader, Mr. F. D. Lycett Green, reminds us also of
the production of the opera in the first Beecham season at His
Majesty’s Theatre in 1909 and by the Birmingham Repertory
Theatre in 1921.—Eb. ]

Opera from Italy
To the Editor of ‘THE GRAMOPHONE.

Judging voices via the microphone is a perilous business.
Christopher Stone says so, and he ought to know. The question
arose out of the correspondence which followed Mr. H. J.
Goodman’s views on the younger Italian singers. I had just
returned from Italy, and our co-editor, in the casual way which
wireless listeners know so well, suggested that I might put my
spoke in, for THE GRAMOPHONE has always encouraged a healthy
discussion. At first I was only too pleased that the names
of the present generation of Italian singers were not entirely
unknown in this country ; but on reading the letters I felt that
too much had been said that ought not to have been said, and
incidentally one or two things left unsaid that I should like to
say. As it happens, I have just had an experience of the un-
reliability of the microphone. A short time ago I heard Boito’s
Mefistofele at the Teatro Reale—a performance which would
have been ideal but for the Faust. He was about five feet tall,
and his voice was uneven and lacking in beauty of tone. I heard
one of the subsequent performances on the wireless, when this
same Faust—not lacking in intelligence, to give him his due—
seemed almost worthy to be the companion of the superb Mefistofele
of Ezio Pinza. The microphone, which cannot reproduce the
timbre of the living voice, does its best to cover up the defects by

The GRAMOPHONE #3

way of compensation. Personally, I regard the wireless not so
much as a means of comparing Signor X and Signor Y as of
hearing such a work as Wolf-Ferrari’s J/ Campiello three days
after its premiere.

Mr. Andersen professes unbounded admiration for the baritone
Armando Borgioli, who sang at Covent Garden until three years
ago and is now at his best. He has a voice of dark quality and
great power in the middle and upper registers, and he makes most
effective use of the mezza-voce ; but the lower notes, powerful
enough on the wireless, are sadly lacking in resonance. To com-
pare him with Mario Basiola is all very well, though he must
inevitably come off second-best ; to declare he is a “* much
greater artist’ is fantastic. Basiola is one of the few singers of
whom I can truthfully say I have never been able to find the
smallest room for criticism. Every phrase shows the mind of an
artist behind a perfectly controlled voice.

Then we have the basses mentioned by Mr. Andersen. Fernando
Autori—as we in this country have not had much chance to find
out, though we might guess it from his skill with the pencil—is as
fine a character-actor as there is on the operatic stage ; but his
vocal equipment is not adequate for such réles as Ramfis and
Filippo in Don Carlo which he sang here in 1933. Then
Duilio Baronti’s beautifully used voice has not the necessary
reserves of power.

Mr. Andersen enjoys using our superlatives and applies a few
choice ones to Gina Cigna. Opinion is sharply divided as to her
merits in Italy, and I confess that after seeing her in a dozen of
her favourite parts I find her a strange mixture. At times I find
myself in agreement with those who call her voice ** unsym-
pathetic,” ‘“‘ uneven,” “‘ strident’”’ : yet in certain réles she is
unsurpassed. There can be no two opinions about her Gioconda.
I have watched this interpretation improve every season, losing
its early irregularities until it is now the finest impersonation of its
kind. I agree with Mr. Andersen that she is a splendid Turandot
(not Liu, please !). A pity she and Lauri-Volpi are not appearing
in the opera at Covent Garden this season.

After reproaching Mr. Goodman for mentioning as coming
stars certain well-established artists, it was curious to see Mr.
Shepherd remark that Gabriella Besanzoni has ** made her way
to the forefront of Italian opera within the last few years ’’—for
she was singing with Caruso a quarter of a century ago, and has
not been heard in Italy since 1934. Mr. Shepherd also mentions
Aurelio Marcato, who has certainly made a rapid advance since
his début three years ago, when his elementary notions of acting
suggested an insufficient preparation. The less said about Mr,
Shepherd’s “‘ young ”’ baritones the better.

To sum up, I should be sorry to see any of the following artists
mentioned by your correspondents engaged at Covent Garden as
representative of the present generation of Italian singers: Pauli,
Granda, Bruna Rasa, Landi, Sinnone, Paci, Poli.

Now for the singers who should be heard at Covent Garden to
restore the sadly depreciated fortunes of Italian opera in this
country. First we must dispose of the lament (sometimes not
unmixed with malicious satisfaction) that great female singers are
no longer to be heard in Italy. That this is false would at once be
admitted by the most biassed if Maria Caniglia, who made her
début in 1930, could be heard, say, as Desdemona, for a start.
As it is high time we were hearing an Italian Mimi or Lit again,
we ought to have Pia Tassinari and Mafalda Favero—a joy to
watch as well as listen to, complete artists with a choice of réles
ranging from Ji Matrimonio Segreto to Zandonai’s Farsa Amorosa.
Then there is Franca Somigli, who has reached the front rank of
Italian sopranos in four years. I suppose one could hardly hope
to have her in Francesca da Rimini. Augusta Oltrabella as
Butterfly or Suor Angelica is almost unbearably moving.
Giuseppina Cobelli is perhaps the finest actress on the operatic
stage, but as we are hardly likely to have an Italian Kundry (that
would be turning the tables with a vengeance!) and her talents
lie mainly in the direction of the modern repertoire, it is difficult
to see where she would fit in at Covent Garden.

Coming to the mezzo-sopranos, it is sad indeed to reflect that
we have not heard Ebe Stignani. If I were put to the choice, I

44 The GRAMOPHONE

should declare that she is the greatest singer in the world. Maria
Caniglia is about the only soprano who is not over-shadowed by
her Amneris or Ortrud. Gianna Pederzini is an admirable artist,
though not on the majestic scale of Stignani. She is famous for
her Jtaliana in Algeri and such réles as Carlotta, to the Werther of
Tito Schipa.

Now for the men. We ought to hear Alessandro -Ziliani. He is
an ideal Rodolfo, though his best réle is perhaps Enzo. Ettore
Parmeggiani specialises in Wagner and the modern repertoire,
so I do not see how we can fit him into our proposed season unless
the improbable dream of a revival of Francesca were realised.
Galliano Masini has one of the finest tenor voices you can hear
to-day. Luigi Fort should have been our Lindoroin L’Jtaliana
last season.

With good baritones so plentiful in Italy, it is extraordinary to
see a complete lack of them this season at Covent Garden. Mario
Basiola must be heard ; and the huge voice of Ettore Nava would
create a sensation in the third Act of Aida. Piero Biasini, who
has been carefully developed at La Scala, astonished everyone
this season with his superbly sung and acted Iago.

Poor Ezio Pinza has been thrown away at Covent Garden—the
year Don Carlo was done he was at Florence—so I hesitate
to advocate the claim of Giacomo Vaghi. This season it seemed
to me that he has reached the zenith of his powers when I heard
him in Orseolo. An artist of a very different calibre is Salvatore
Baccaloni, incomparable in buffo rdédles. I am sure Don
Pasquale must soon be revived at Covent Garden: and when it
is he must be the protagonist. Last time I saw the Barbiere
he stole the show from an all-star cast as Bartolo!

These artists, though almost all young, are the best in Italy.
Time enough to indicate those on the road to success when we
have heard the top-notchers. Nor need I enlarge upon such
singers as Pinza, Pasero, Lauri-Volpi, Bidu Sayao, and the artful
veterans Schipa and De Luca—they are international figures (so
for that matter are Gigli, Claudia Muzio, and Toti Dal Monte:
but the sad truth is that they are past their best).

By the way, I am very sorry that Mr. Poulter is disappointed
with the Improperia of Palestrina, which he obtained on my
recommendation. I played the record for the first time after a
lengthy interval, and I cannot help hoping that he will yet come
to regard it as the “treasure he had hoped for.” It would
certainly be my desert-island record.

Dundee. James C. ROBERTSON.

Screen Opera
To the Editor of THe GRAMOPHONE.

Mr. James Marshall’s letter published in THE GRAMOPHONE
for May calls, I think, for some comment, not only with reference
to the point he raises, but also because the whole question of
Opera on the screen is one that is greatly in need of clarification.

Like many other people he assumes that since the réle of Canio
is always sung by a tenor, every tenor must necessarily be able to
sing Canio. In this, however, he makes a very big mistake, for
there is no singer living who can cope competently with every
tenor rdle in the world of opera, just as no pianist plays the works
of every composer with the same brilliance. Because Tauber sang
Mozart successfully in 1913 is no reason why he should sing
Leoncavallo with the same success in 1936, and I for one do not
think he would make an ideal Canio any more than I think that
Gigli would make a perfect Siegfried.

Opera on the screen has recently gained a certain amount of
success with the film-going public, but I fear that very little of
that success is due to a true appreciation of the music itself.
During the past two years I have made it my business to try and
find out what makes a singer popular with the “‘ man in the street ”’
who frequents the cinemas, and I have arrived at the following
conclusions. ‘The artist must :

(a) Be young and good-looking ;

(6) Have a huge voice ;

(c) Possess a vast collection of top notes which he or she must

exploit at every opportunity ; and

June 1 936

(dq) Sing only arias the melodies of which are known to
everyone. (For example, a loud, flamboyant, but mediocre
version of La donna é mobile will always prove more
popular than a restrained and beautiful rendering of, say,
Il Sogno from Manon.)

In conclusion, the trouble appears to be the same as that which
has dogged the music-halls and concert platforms for years. It
is a peculiarity of our national temperament that we welcome
enthusiastically the thousandth performance of some well-known
jingle, but treat with suspicion and dislike anything new, whatever
its merits ; and whilst this state of affairs continues, screen opera
will consist of nothing but a long succession of Che gelida
manina’s and Il Bacio’s interspersed with the usual complicated love
triangles and misunderstandings so beloved of the cinema “ fans.”

Dovercourt. ALAN CARR.

Recordings Wanted
To the Editor of ‘THE GRAMOPHONE.

I have read with great interest your correspondents’ suggestions
for new recordings in various issues of THE GRAMOPHONE, but
notice with regret how comparatively infrequently one sees a plea
for first recordings of works by eighteenth- or nineteenth-century
composers. I have made a short list of works that in my opinion
should be added to the companies’ repertoire, and cannot think
that any of them would not be received with great enthusiasm by
your readers. Here is the list:

Marcello Oboe concerto

Bach Flute Sonata No. 2

Haydn Symphony with the Horn Signal (B.B.C. horns,
of course)

Mozart Divertimento No. 11 in F for oboe, horns, and
strings
Glass-harmonica quintet

Beethoven Piano Sonatas in F sharp (Op. 78) and E minor
(Op. 90)

Schubert Piano Sonata in B (Op. 143)

Schumann Toccata in C major (Op. 7)
Symphony in C (obviously by far the best of his
symphonies)
Romances for oboe and piano
Clarinet and Piano Fantasiestiicke

Dvorak Symphonic Variations (these are admittedly un-
equal, but contain passages of extreme beauty
that would compensate for practically any
falling-off)

Borodin Scherzo from Quartet in A

Brahms Variations on a Hungarian Folk-tune (Op. 215).

(Why these are neglected completely surpasses all
my efforts of imagination)
Clarinet and. Piano Sonata No. 1 in F minor
Tchaikovsky Mozartiana Suite (the best of two worlds ?)
This selection is, of course, quite a personal choice, but if any
of your readers should feel my own enthusiasm for any of these
works I hope that he or they will write to you and do what they
can to give the great composers yet another chance to show their
capacity for producing things of beauty.
Edinburgh. R. A. Bootu.

Mozart’s Requiem
To the Editor of THe GRAMOPHONE.

Music-lovers generally and Mozart-lovers in particular must
have read Mr. Compton Mackenzie’s suggestion of last month,
regarding the recording of Mozart’s Reguiem, with great interest.

Personally, I feel that this great work has been neglected by the
gramophone companies. Now that the old H.M.V. Philharmonic
Choir records, conducted by C. Kennedy Scott, have been deleted
from the catalogue, there only remains in the English catalogues
one disc from the Requiem: it is on Parlophone and is of the
Lacrymosa, and on the other side, the Dies Irae, sung by
the Choir of St. William’s, Strasbourg. Incidentally, the latter

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side is only labelled Dies Irae, but actually this is preceded by
an abbreviated version of the Requiem Aiternam.

This disc, the number of which is Parlophone E11082, is,
despite its being a few years old, a fine recording. The recording
of the strings in the introduction to the Lacrymosa is very
beautiful indeed.

Mozart-lovers are indebted to the Parlophone Company for
many recordings of the composer’s works, including many
operatic arias and also the recent first recording of the newly-
discovered Rondo in A for piano and orchestra ; and I feel sure
that if Mr. Mackenzie’s suggestion is carried out, it will be to the
great gratification of the numerous admirers of the great composer.

Chester. REGINALD WILLIAMS.

A Plea for Piano Works
To the Editor of THe GRAMOPHONE.

While bearing in mind, and being duly grateful for, all the
masterpieces of piano literature which have been recorded by
various companies, I would like to make a plea, through the
medium of ‘THE GRAMOPHONE, for some of the lesser-known piano
works of the great Masters to be recorded.

To begin with there are Chopin’s thirteen Polonaises, out of
which only a few have been chosen for recording. Surely there
are countless beauties waiting to be recorded in these works.
Consider the one in F minor, Op. 44, about which James Huneker
speaks so enthusiastically in his ‘‘ Mezzotints in Modern Music.”’
It is a composition which ranks with the so-called Heroic,
Op. 53, both in technical difficulty and musical content, while
another outstanding Polonaise is the second of Op. 26, in
E ilat minor, sometimes known as the Siberian Polonaise, and
both of these fairly beg to be recorded. While writing of the
Polonaises I would like to mention the fact that the Decca
Polydor Co. and Walter Rehberg have combined to make a
success of the Polonaise Fantaisie Op. 61, a rarely played but
beautiful work, and the recording of it has made many Chopin
enthusiasts, including myself, deeply grateful,

From the fire and fury of the Polonaises to the contemplative
and melancholy musings of the Nocturnes, is a big stretch: but
it is of the Nocturne in C minor, the first of Op. 48, that I would
now write. This work is truly one of the Polish master’s greatest
triumphs in this mould, although at times it strays from this form
and becomes Ballade-like in quality. Perhaps it has become lost
in the maze of E flat Op. 9 No. 2 Nocturnes, for, to my knowledge
it has not yet been recorded, and even Godowsky did not include
it in the set of Chopin Nocturnes which he made for Columbia.
Another Chopin work which I would like to see cut upon the wax
is the Allegro de Concert, Op. 46. It would be very acceptable
to a great number of musicians I feel sure, and would afford an
opportunity for hearing some really fine piano playing, especially
if performed by someone like Rosenthal or von Sauer. To conclude
my list of Chopin works I should like to see recorded, there is the
Andante Spianato, Op. 22a, which precedes the Grande Polonaise
Brillante Op. 226. The Polonaise has been brilliantly and master-
fully played by José Echaniz for Columbia, but of the other half
of the same Opus there is no trace in the record catalogues, which
is to be greatly regretted, as it is a work of exquisite beauty and
charm, comparable to many of the Nocturnes by the same com-
poser.

And now I come to Liszt, whose piano compositions have
received much attention from the gramophone record com-
panies. The set of twelve Etudes d’Execution is the work which I
consider would be very welcome in recorded form and, although
two of them—Mazeppa and Feux Follets—have already been
made, there are still such marvels as Wilde Jagd, Erotica, and
Ricordanza waiting. If I had to nominate a performer for these
Etudes I think I would take my choice from Rosenthal, Horowitz,
Solomon, or Rachmaninov.

Finally, there are the sadly neglected piano works of Scriabin,
of which, as yet, only two have been recorded, a Prelude and
Etude, played superbly by Brailowsky. It is surprising that
Rachmaninov has not made any records of works by this composer,

therefore, worth buying ?

The GRAMOPHONE 45

for he was a fellow student with Scriabin and, after the tragic
death of that master, gave a series of commemorative concerts
consisting solely of Scriabin’s compositions.

Birmingham.

WILLIAM H. Brown.

Apology to Liszt and Others
To the Editor of THE GRAMOPHONE.

I owe Liszt and my readers an apology for an odd incident which
some correspondents have been kind enough to point out—more
in sorrow than in anger !

The facts are these. Last September I received a Parlophone
piano record to review which was labelled ‘* Legend of St. Francis
of Assisi,”’ the pianist being Prof. Grundeis.

Having a great love for Assisi, which I know well, and its
Saint, I could not imagine what relation the “‘ robust semi-
ecclesiastical strains ’’ of this ‘‘ noisy vulgar piece’ bore to any
incident in the life of St. Francis, still less to the full title of the
piece, which I discovered to be “St. Francis preaching to the
birds.”” This was my immediate reaction to the music. The
record, together with many others, being received, as so often, at
the eleventh hour, I did not pursue my researches further and it
did not occur to me, as it would have done had my mind been
less occupied, to question the labelling of the record.

I had better say here that I knew vaguely of the existence of
two “* Legends of St. Francis”’ by Liszt, but, his music never
having especially appealed to me, no more than that. One
cannot know everything! No letters arrived to warn me that I
had been misled. Then, in April, more than six months later, a
Columbia piano record arrived with the title of ** St. Francis of Paul
walking on the waters.’’ ‘This record, with the music admirably
played by Marcel Ciampi, received my warm approval. I found
the music “ altogether better ’’ than my dim recollection of the
Parlophone record, and indeed ‘‘ a magnificent storm-piece.”’

It has now been revealed to me that the two records contained
one and the same piece, the Parlophone record having been
incorrectly labelled. Well! well! I plead guilty, of course, but
with extenuating circumstances.

In the first place I would inform one of my correspondents who
signs himself ‘‘ Disgusted ”’ (he must be a relation of *‘ a mother
of twelve’) that reviewers on THE GRAMOPHONE do not keep
the records sent to them, so that one was unable to “ take the
trouble ’’ to compare the two discs.

Then for September I had to review works by Mozart, Debussy,
Milhaud, Mendelssohn, Bach, Handel, Bartok, Beethoven,
Brahms, Lortzing, as well as Liszt—so that perhaps it is not
surprising that, so long after, all recollection of a piece which,
for reasons given above, had annoyed me, should have faded from
my mind.

Thirdly, I changed my radiogramophone for one infinitely
better, the result of which has been to do more justice both to
record and to performer and, now that I have compared the
two discs, to show that I was too kind to Prof. Grundeis. It is
his noisy performance—on a ten-inch record where Ciampi needs
a twelve-inch—which vulgarises the music.

Finally, reviewing records is not the sole occupation of an
exceedingly busy life, and much happens in over six months of
time !

My head is bloody but unbowed! These accidents will happen
even to the best regulated critics—though such a thing has never
happened to me before in a long career of reviewing. At least
they give one a jolt and teach humility.

On the whole question of reviewing, I am asked from one
source, to give more technical details both of music and per-
formance. Is this the general wish ?

I have tried always to put myself in the shoes of the average
music-lover who wants to know above all (1) is the music
interesting and well played, (2) is it well recorded, (3) is it,
Being most anxious to serve my
readers in the most useful way possible I would welcome some
expressions of opinion on this difficult point.

A. R.

46 The GRAMOPHONE

Dulwich and Forest Hill Gramophone Society

The Society’s subject for April was a demonstration of the
Lowther-Voigt Radiogram! This combination of Lowther
amplifier, Piezo-electric pick-up, and Voigt Domestic Speaker
reproduced a programme of the month’s new issue records. Here
was no selection of records designed and selected specially to show
the instrument’s best behaviour, and it speaks volumes for the
skill of its designers that it performed its task with the ease and
class of a thorough-bred !

The records played included the Walton Symphony (Decca),
L.S.O. under Harty, Georges Thill and Germaine Martinelli in
Finale, Act 1 The Valkyrie (Columbia), Abide with me sung by
the late Clara Butt (Col.), "Cello Concerto of Haydn (soloist
Feurman—Col.), Gieseking playing Debussy’s Reflets dans l’ Eau and
Soirée dans Granade (Col.), and two records from L’ Anthologie Sonore.

The electrifying performance and recording of the orchestra
in The Valkyrie record enabled the Lowther-Voigt Radiogram
to show its paces in no uncertain manner, while the neatly
recorded ’Cello Concerto of Haydn shows the reproducer capable
of dealing meticulously with this charming work. The recording
of the Debussy piano pieces was of the standard an extremely
accurate (in frequency response) reproducer accepts with delight,
and, in darkness to heighten the illusion, even the sceptic had to
pay tribute to the perfectly realistic reproduction. The Clara
Butt being a “ dated ”’ recording was not so successful, though the
realism added by the Lowther-Voigt compensated somewhat for
recording deficiencies.

The seal was set on the demonstration by the Secretary, who
submitted two records, “‘ Study for the Left Hand ”’ (Blumenfeld)
H.M.V., and part of the symphonic poem Russia (Balakirev)
(Col.), two recordings that would stand the most critical form of
reproduction: and the Society experienced that rare combination
of perfect recording on an instrument capable of reproducing it!

The Society had a visit by representatives of the Gillingham
(Kent) Society on May ist. Mr. J. H. Hodge gave a programme
of *“*‘ Connoisseur ’’ Records, inchuding several fine orchestral
recordings, in the first half of the evening. The second half was
taken by Mr. W. W. Johnson with an address on the Society
movement, followed by a discussion relative to the societies
federating, which movement this energetic young Society is
sponsoring, its leaders being heartily thanked for their visit.

June meetings, at which visitors are welcome, are Fridays 12th
and 26th. Kirkdale Café, Sydenham, S.E.26. Commence 8 p.m.

Hackney Philharmonic Society

This Society held a meeting on March 28th when Verdi’s opera
Aida (Acts 3 and 4) were given, recorded in complete form by
Columbia. Mr. O’Connor, who presents our operatic items, gave
an excellent account of what the happenings were on each record
before it was played. This opera has now been heard complete.

The first May meeting took place on May t1oth, when the
principal item was Rachmaninov’s second Piano Concerto played
by the composer and the Philadelphia Orchestra. Vocal records
included Softly awakes my heart (Saint-Saéns) and Una voce poco fa
(Rossini). The final recital of the season was given on May 26th.

High Wycombe and District Music Society

In spite of the warm weather there was an excellent attendance
on May 6th, when Miss Gladys Watkins (contralto) gave a recital.
Miss Watkins was heard to advantage in Mozart’s Recitative
A Questo Seno and Aria Quand miro bel ciglio. Other items were
Wiegenlied (Mozart), Softly awakes my heart (Saint-Saéns), and
Schubert’s Serenade and Litany. Miss Hilda Packer, A.R.C.M.,
who accompanied adroitly, gave a musicianly reading of Mozart’s
F major Piano Sonata’ (K.332). Mr. F. R. French provided a
‘* tough nut ” in the shape of Beethoven’s C sharp minor Quartet,
Op. 131, played by the Léner Quartet—a fine recording.

Liverpool and District Gramophone Society

The “ three B’s”’ of music—Bach, Beethoven, and Brahms—
may almost be said to parallel the “ three R’s”’ of education:

Fune 19f

and to tackle all three in one programme is undoubtedly |
herculean task. On April 15th, however, Mr. Harrison attempté
this feat, and in the short time at his disposal managed to give

audience considerably more than a taste of each compose
Beethoven, as one would expect, occupied half the evening, an
the remainder was divided equally between Bach and Brah

Mr. Harrison had selected the lesser-known works in each cag
(e.g., Brahms’s Hungarian Dances 19, 20, and 21, and Beethoven
eighth Symphony), and the recording was very good thrqughouw
This was Mr. Harrison’s first programme before the Society, an
his pleasant style and interesting records were much appreciate¢

The annual Competition Night took place on April 2ot
Members’ entries were divided into three classes—vocal, inst
mental, and orchestral, and a small prize was given for the beg
record in each class (as judged by the audience). The winning
records were: Verdi’s String Quartet, third movement, play
by the Rome String Quartet ; Elizabeth Schumann’s renderi
of Bist du bei mir (Bach); and Heifetz and the Londa
Philharmonic Orchestra playing Vieuxtemps’s fourth Violij
Concerto. The entries were all of high standard, and the fi
choice was not easy. It is, perhaps, noteworthy that Mozart \
the composer of six of the twenty items, the runners-up being Bae
and Verdi with two each. This was the last meeting of the seasog
and it is hoped that all enthusiastic gramophiles ia the distri
will communicate with Mr. J. H. Harwood, 43, Castle Stre
Liverpool 2, for particulars of next session’s meetings. They wé
certainly “‘ hear something to their advantage ’’ by joining.

Manchester Gramophone Society

On May 11th Moses Baritz gave a brilliant recital on the “* Li
and Works of Franz Liszt,’ with masterly musical analyst
erudition, and characteristic humour. His wide knowledge ar
splendid memory served to portray vividly the genius and wo
of Liszt, who was the greatest pianist of his day. Many notah
records were played, all new Columbia issues, which the Societ
All Range ‘‘ Expert”’ reproduced splendidly. Mazeppa, Ege
Petri, magnificently played and superbly recorded ; Hungari
Fantasia, Jacques Dupont and Orchestra, equally fine in every way
and St. Francis, Marcel Ciampi, were all fine examples ¢
modern piano and orchestral recording. The most remarkab
records played were Les Préludes (LX489 and 490). In the
the instrumental balance, clarity, and wealth of detail we
impressive, and percussion were never so realistic. The audiené
showed evident appreciation of Mr. Baritz’s most instructi
evening, and his gift of Les Préludes records to the library.

North-West London Gramophone Society

The second recital of this Society was held on Tuesda
May 12th, at 8.30 p.m., at 37, Springfield Road, St. John’s Wood
the Society’s headquarters. Seventeen were present, and Mf
Kettle gave an extremely fine recital, including unhackneyet
works of Handel, Mozart, and Schubert, a lovely recording b
Marguerite Perras of Verdi’s Requiem Afternam from the Requiem
Mass, and concluding with the Elgar Enigma Variations.

All gramophiles and music-lovers are invited to join t
Society, and to write for details to the Hon. Secretary, Mis

I. H. Matthews, 5, Edgeworth Crescent, Hendon, N.W.4.

South-East London Recorded Music Society

On Monday, May 4th, the Society had a visit from the Dulwie
and Forest Hill Society, whose member, Mr. Maskall, gave 2
interesting talk on Saint-Saéns. The second Piano Concerto in G
The Carnival of Animals, and the Bacchanale from Samson and Delila
were examples of this composer’s recorded works that assisté
the evening’s enjoyment.

The Society’s new headquarters are at the Unitarian Chure
Hall, High Road, Lewisham (next to the Public Library
Enthusiasts and friends welcome. :

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